Department of Environmental Studies - University Of Nigeria ...

Nwamarah Uche

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Nwamarah Uche

Digitally Signed by: Content manager’sDN : CN = Weabmaster’s nameO= University of Nigeria, NsukkaOU = Innovation Centre

Faculty of Environmental Sciences

Department of Environmental Studies

PALACE OF THE ATTAH IGALAA Study of Architectural Identity and Symbolism

EMUSA, HENRY

PG/M.SC/09/53713

: Content manager’s Name Weabmaster’s name

a, Nsukka

Environmental Sciences

Studies

PALACE OF THE ATTAH IGALA: A Study of Architectural Identity and Symbolism

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CHAPTER ONE

1.0 INTRODUCTION

The search for an architectural identity, the rise and fall of movements and tendencies,

and the continuous debate on issues of symbolism and character inarchitecture are

derived from the fact that Societies tend to re-evaluate the meaning and desirability of

built environmentsrapidly. This search seems to be a preoccupation with countries that

have cultural richness and multi-layers of history. Architects as well as building

professionals in those countries find themselves dealing with a paradox needing to

project a certain image of themselves through their built environment (Salama, 2006).

Simple memorization requires symbolization, and the modern world offersmany

examples of the use of symbolism for practical and functional purposes. Therefore no

matter what aspect of symbolism in question, we must take its actual usage into account

for architectural purposes. There is no stronger clue to the value of a symbolic form

than its perception and acceptance by the community at large. To underline this fact is a

matter of practical necessity (Kuban, 1979).

Without doubt, globalization has intensified competition not just among industries,

markets, and investments but also among nations, cultures and ethnicities. Since the

advent of globalization, many nations have begun to lose their identity. The pristine

cultures, traditions and heritage of the world are fast disappearing as a new ‘global’

image is being adopted.Nigerian culture, since colonial invasion, has experiencedrapid

change. The contemporaryNigerian culture ismerely a mixture of traditionalelements

and alienfeatures. As a matter of fact"The Africantodayis a living confluence of cultural

rivers, the major riversbeing, on the one hand, the traditional culture withitstributaries

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of religion, social structure, language, values and world view, and, on the other hand,

the Western culture -includingChristianity and Islam- withitsowntributaries" (Okere,

1996). Nigerianidentityis in crisis as the authentic cultures are almostvanishing. An

Australian-born U.S. media entrepreneur once quotedVoltaire as saying that every man

had two countries: his own and France. In the 20th century, that has come to be true of

the United States.

Since the introductionof advanced Information and Communication Technology (ICT),

mass media outlets and consumers as governments in developing countries, have and

are becoming increasingly reliant on western mass media sources for information,

entertainment, and advertising.When programming comes from local sources, it is

laden with western values, because western corporations serve as the source of revenue

for the constantly financially strapped mass media in the developing world (Schiller,

1969).

With this development, Africans with particular reference to Nigerians are robbed of

the patriotism which they deeply desire as developing nations. It should be noted that

Nigerians have never viewed their cultures as inferior to Western culture (Oladipo,

1995). In spite of this, the younger generations seem to know little or nothing about

their own past, yet they learn about the great deeds of their former colonial masters and

other western civilizations and this knowledge fosters pride and admiration in them

because a culture is made or destroyed by its articulate voices.

Hence it is the author`s belief that every nation has its own rich history, but if it is not

preserved and promoted the future generations may feel no sense of belonging, no

connection with the past because when the essence of a thing is not known, its abuse is

inevitable. Marcus Garvey said that a people without the knowledge of their past

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history, origin and culture is like a tree without roots while the music legend Bob

Nester Marley wondered how a man could know where he iscoming from, if he does

not know where he is going.

Nigeria is not an exception. The nation is on a fast-track to development, which has

been elusive thus far. The author`s idea of development is a people who have a deep

appreciation of their origins, who know about their past, cultures, symbols and their

meanings and are led to preserve, defend and protect it as they march into their future.

1.1 BACKGROUND OF STUDY

The study of Symbolism and Identity addresses the constant debate between form and

function- which should precede which- and the need for form not just to be aesthetic

but for form to be able to communicate. Communication is a two way process:

transmitting the message and receiving the message. Therefore in order to achieve this,

there should always be a balance between form, function and aesthetics making sure

that the three are represented.

Some scholars pose the question of the necessity to refer to cultural or

religioussymbolism in architecture to reflect a specific identity. There are many who

have questioned the need to debate architectural identity at all, claiming that it merely

displays a lack of “self-confidence” as a region or as a group of nations. Reviewing the

recent practices and searching the recent debates reveal that we still seem to be at odds

with the issue of identity. Images and image making processes do not often address the

issue of meaning in relation to the public. This leads to looking at the built environment

as a two-way mirror. One way can be seen in the sense that it conveys and transmits

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non-verbal messages that reflect inner life, activities, and social conceptions of those

who live and use the environment. The other way is seen in terms of how it 3is actually

perceived and comprehended by a certain society at a certain time; simply how it

evokes certain image for that society(Serrat, 2008)..

Culture is the DNA of every society and the growth of architecture worldwide has been

deep rooted in cultural heritage. Therefore as culture evolves, architecture does. A

society with a rich cultural heritage if well tapped into architecture with a very strong

identity. On the other hand a society with a rich cultural heritage which is not

sufficiently explored produces architecture that is bare and tagged with an ‘identity

crisis’(Serrat, 2008)..

Some needs are common to all people—at all times and in all places. They are the need

to make a living, the need for social organization, the need for knowledge and learning,

the need for normative and metaphysical expression, and the need for aesthetic

manifestation. These nuts and bolts of everyday life work through the coevolving

realms of environment, economy, society, polity, and technology to make up systems of

mutual sustainability or (in opposition) mutual vulnerability(Serrat, 2008).

Since people (not economies) are the main object and ultimate purpose of endeavours

to progress, a society’s culture is not just an instrument of development cooperation: it

is its basis. The marriage of economy and environment was overdue and has spawned a

world agenda for that purpose. Likewise, the relationship between culture and

development should be clarified and deepened in ways that are authentic,

indigenous,self-reliant, sovereign, civilized, and creative (Serrat, 2008).

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In Africa, culture as some would argue is dying due to the effect of slave trade and

colonization and the influx of new religions to the people of these societies. What

would rather be said is that the fact that traditions and religions are fading out is even

part of the culture, for as DNA evolves culture does and this is the area this study aims

at clarifying.

This study will research into the culture of the Igala people and their heritage, the

evolution of a symbolic public/residential building that connotes its identity shall

emanate from this study of symbolism. Two origins of symbolism can be introduced in

this cultural context; social and spontaneous creation of new places by the public, and

planning or intentional actions of those who have the power and authority to introduce

change in the public space. If an organism or a component of a social structure is able

to intentionally introduce change in the environment one can argue that it is a wielding

power. This purposive action aims at endowing space with shape, structure, elements,

and name with an attempt to highlighting some values, aesthetics, or facts to stand in

the minds of the public. It is intended to create a symbolic space with preconceived

meaning that can or cannot be comprehended and assimilated by the public as point of

reference, and thatmight or might not become a shared symbolic element. This

corroborates the fact that most of the important urban actions and artistic interventions

in public spaces are intended to evoke a memory, an event, a person, or to put a

political, artistic, or social moment on record (Salama, 2006).

In this study, the concept of Symbolism and identity will be used to address

thearchitecture of the Attah’s palace; the language and the content of the language of

the architecture, the audience and the depth of interpretation of the message the

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architecture carries resulting in the creation of a monument that represents the

architecture and identity of the Igala kingdom.

Monuments are important to the study of human history because they provide a

concrete basis for ideas, and can validate them. Their preservation demonstrates

recognition of the necessity of the past and of the things that tell its story (Tanselle,

1998). In The Past is a Foreign Country, David Lowenthal observes that preserved

objects also validate memories (Lowenthal, 1985).

1.2 STATEMENT OF ARCHITECTURAL PROBLEM

Buildings tell stories, their life span make them better preservers of historic andcultural

information. A traditional palace for the ruler of any group of people is an architectural

representative of suchgroup. It should be able to convey the message of thecultural

heritage and identity of the people. The traditional palace is like the eye of the people

and so should be bold and iconic rather than cold and ironic. Considering the building’s

monumental role, its elements and functions should be bothwelcoming and respectful

of local traditions of the people as a manner ofcommunicating its message to its users.

The Igalapeople have a rich identity and cultural heritage that has been seriously

neglected. This is evident in their tradition, art, music and architectural language. Most

buildings as seen in Igala land today depended entirely on European and Western

architectural styles and symbols.

Due to the above reason, this project proposal will focus on: The architectural identity

and symbolism of the Igala people; exploring the possibility of integrating some

identity and symbols of the Igala people in the design of the palace of the AttahIgala.

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1.3AIM OF THE STUDY

The aim of the study is to identify traditional symbols that represent the identity and

cultural heritage of the Igala people and translate them into architecture for the palace

of the AttahIgala.

1.4OBJECTIVES OF THE STUDY

• To investigate and document the cultural heritage and identity of the Igala people.

• To represent the identity of the Igala people in the Attah’s Palace.

• To use Architectural Iconography to create a Symbol for the Igala people in Nigeria

and the world in general.

1.5 SIGNIFICANCE OF THE PROJECT

This project is intended to serve as a traditional symbolic palace for the AttahIgala. Its

design incorporates the Igala Identity which will make it serves as ‘typical museum of

Igala architecture’. This can be derived from its circular walls from bricks (burnt

bricks), with a symbolic façade replicating the Ejubejuailo( the face of fear) which is a

mask and symbol of authority always worn around the neck by all the Attahs. The

concept of Atakpa (relaxation hut) in the centre surrounded by cluster of huts serving as

the administrative unit, simulating the Igala compound setting and hence a tourist

centre for the state generating foreign exchange earnings, creating employment

opportunities, promoting rural enterprises and national integration among other things.

1.6SCOPE OF THE PROJECT

The scope of this work will be limited to investigating the origin, culture and identity of

the Igala people and representing them in the design of the palace of the AttahIgala.

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This symbolic building will include; Relaxation Facilities, Administrative unit,

residential unit and Entertainment arena.

1.7MOTIVATION OF THE STUDY

The motivation for this project comes from the need of a powerful symbol thatprovides

an instantaneous and indelible representation of the identity of the Igala people.

The Palace of the AttahIgala is a cultural institution that represents the cultural heritage

of the Igala people.

1.8 RESEARCH LIMITATIONS

Some of the limitations associated with this project include;

1. The security protocol and unwillingness of certain people in some of the palaces

visited to release information on their staff strength, culture and access to the

Traditional rulers’ offices, necessary for this project, gave rise to many difficulties

encountered with regards to the collation and arrangement of data.

2. There have not been enough handy materials locally to source information from and

getting the proper pieces of information and architectural plans required for proper

assessment in the case studies.

1.9 RESEARCH METHODOLOGY

The Descriptive Case Study and Qualitative Research Methodsapproach Wereadopted

for this project. This is because the approach in methodology involves carrying out case

studies which includes: Identifying current or existing problems and describing them as

they are, collection of information or data with a view to describing existing conditions,

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characteristics or phenomena; Making comparative analysis of these features or

characteristics as relevant; and providing good insights into circumstances surrounding

the issues under study and enough guides for decision-making or for further

investigation.

Procedure for data collection:

Data collections applicable under descriptive methodology are from two sources,

namely:Primary sources and secondary sources.

Primary data: these are first-hand information obtained from direct sources. Sources of

primary data include site visitation and investigation as well as oral interviews.

Secondary data: secondary sources of information shall be from data by other

researchers collected through books, journals, published and unpublished literature, and

also from the web pages of the internet.

The information obtained by the various methods of research will culminate into

analyses of collected data, deduction from analysis, postulations of solution and design

proposals.

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CHAPTER TWO

2.0 LITERATURE REVIEW

2.1 SYMBOLISM IN HISTORY

“Architecture has the capacity to connect to the self and our interpretation of places

and things often reflect who we are or what we would like to project about ourselves to

others” (Smith, 2006). In recent years there has been much scholarly literature on the

concept of the “symbol”. A host of related terms- sign, signal, semiotic, icon- has

spread into disciplines, as diverse as anthropology, art history, linguistics, folklore,

geography and literary criticism. The Concise Oxford Dictionary(11th Edition) defines

symbol as ‘a thing regarded by general consent as naturally typifying or representing or

recalling something by possession of analogous qualities or by association in fact or

thought’. In other words: something which stands for something else, but ambiguously

and with disparate meanings. They are ‘multivocal’ and polyvalent’- that is, they speak

with many meanings and in many combinations. They change with backdrop and grow

with use. And it is precisely their fluidity, rather than their capacity to represent

directly, that makes them central to human thought and action (Kavanagh, 2005).

Symbolism initially developed as a French literary movement in the 1880s, gaining

popular credence with the publication in 1886 of Jean Moréas' manifesto in Le Figaro.

Reacting against the rationalism and materialism that had come to dominate Western

European culture, Moréas proclaimed the validity of pure subjectivity and the

expression of an idea over a realistic description of the natural world. This philosophy,

which would incorporate the poet Stéphane Mallarmé's conviction that reality was best

expressed through poetry because it paralleled nature rather than replicating it, became

a central tenet of the movement. In Mallarmé's words, "To name an object is to

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suppress three-quarters of the enjoyment to be found in the poem... suggestion, that is

the dream"(Myers, 2000).

Symbolism is a part of any culture and language. Where thoughts are abstract or

conceptual, symbols are used to convey them. It basically has two elements:

• The conceptual idea and

• The image which represents the idea..

Symbolism is an age old art which implies communication by the use of

symbols.According to Willis 2010, A symbol is something that represents something

else, either by association or byresemblance. It can be a material object or a written sign

used to represent somethinginvisible. Language itself is a system of spoken or written

symbols by which wecommunicate. Every word is a symbol; the five letters that form

the word 'chair' representa sound as well as a physical object. In writing, symbolism is

the use of a word, a phrase,or a description, which represents a deeper meaning than the

words themselves. This kindof extension of meaning can transform the written word

into a very powerful instrument.

(Willis, 2010).

Symbols may refer to things past, present or future. They usually come out of common

everyday things of life of a particular culture, geography, flora and fauna or

custom.Symbols form the most ancient use of ‘communication’; some believe

humanity’s use ofsymbols to date back as far as 1.2 million years. Of course it started

out with relative’simple’ markings. As time passed, and various cultures developed –

the use of symbolsgrew in its complexity. So naturally, different symbols came to mean

many differentthings and quite often certain symbols would have a different association

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depending uponthe culture it was found in. However quite interestingly the converse

has often proventrue; even though many of these cultures were separated by both time

and distance, theyoften came to use similar symbols to represent the same subjects.

Taking a look at the eagle, the Native Indians saw the Eagle as a symbol for

greatstrength, leadership and vision. As if to seemingly mirror this, the eagle has been

used asa ‘banner’ by many of the great empires throughout history, from Babylon to

Egypt,through to Rome and even the United States. In early Christianity the eagle was

seen as asymbol of hope and strength. It is passing strange that such different cultures

acrossthousands of years have adopted the same symbol (Willis, 2010).

2.1.1 TYPES OF SYMBOLISM

RELIGIOUS SYMBOLISM

Religious symbolism is the use of text, images, procedures, or actual physical objects

torepresent an idea or belief. The most common example is the use of objects to

symbolizethe faith itself, as in the use of a cross to represent Christianity as shown in

Fig 2.1or the Star of David to represent Judaism shown in Fig 2.2. There are many

moresymbols used in religion. For example, in Christianity the sacraments (Holy

Communion,baptism, ordination and marriage) are symbols of spiritual change in the

participants. Incommunion, the bread and wine are symbolic of the body and shed

blood of Jesus, whichare themselves also symbolic of the salvation of the

recipient.Other Christian symbols include the dove (symbolic of the Holy Spirit), and

thesacrificial lamb (symbolic of Christ's sacrifice)

(Willis, 2010).

Fig 2.1: The Christian Cross.

Source: (Willis, 2010)

Fig 2.2: David’s Star.

Source: (Willis, 2010)

MATHEMATICAL SYMBOLISM

Symbols used in mathematics can represent numbers, operations, sets, or many

otherthings. This is perha

mathematicalsymbols include (+) for the operation of addition, or pi for the

transcendental number 3.14159.

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: The Christian Cross.

MATHEMATICAL SYMBOLISM


otherthings. This is perhaps the simplest kind of symbolism. Some common


transcendental number 3.14159.


ps the simplest kind of symbolism. Some common


Fig 2.3:Mathematical Symbols and their meanings.

Source: Encarta (2009)

POLITICAL SYMBOLISM

Political symbolism is often used to represent a political standpoint. It can take the

formof banners, acronyms, pictures, flags, and mottos. (Willis

NATIONAL SYMBOLS

The symbol frenzy started with the birth of the modern nation in the 1800s, when

statesbegan defining themselves with national identities. Since then, official (and

unofficial)icons have taken off. Some national symbols are riddled with pomp and

circumstance,but others are just plain weird. Talk about national pride. From flags to

designatedanimals of state, nations go out of their way to distinguish themselves from

one another.They’ve made national emblems out of everything. But beyond making

nations stand out,patriotic icons can also help outsiders learn a lot about a c

just a quick glance(Akora.com 2010)

THE NATIONAL FLAG

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Mathematical Symbols and their meanings.

POLITICAL SYMBOLISM

al symbolism is often used to represent a political standpoint. It can take the

formof banners, acronyms, pictures, flags, and mottos. (Willis, 2010)


gan defining themselves with national identities. Since then, official (and



imals of state, nations go out of their way to distinguish themselves from


nations stand out,patriotic icons can also help outsiders learn a lot about a c

(Akora.com 2010).

THE NATIONAL FLAG

al symbolism is often used to represent a political standpoint. It can take the


gan defining themselves with national identities. Since then, official (and



imals of state, nations go out of their way to distinguish themselves from


nations stand out,patriotic icons can also help outsiders learn a lot about a country with

As the quintessential national icon, the flag of a country gets a lot of attention. It’s

themost obvious icon for distinguishing nation

officialbuildings in the country that it

differentnational groups at international events, too. At the Olympic Games, for

example, athletesfrom various countries are represented by the flags they carry. And

their supporters wavenational flags t

In theory, there could be as many as six official flags for each country, three for

landpurposes and three for use at sea. On land, there are sometimes separate official

flags forgovernment use, civil flying, and wartime use. At sea, flags are called

and thereare three separate kinds available there as well

war. In manycountries, such as the United States one national flag is used for all six

purposes.However, there are some nations that maintain six different flags

abovesituations. For example, the Canadian flag shown in Fig 2.4 contains a maple leaf,

whichhas long been a symbol of things Canadian. The two bars represent both the

Pacific andAtlantic oceans which bound the country on either side, or th

cultures,English and French (Akora.com 2010).

Fig 2.4:The Canadian Flag.

Source: Akora.com (2010)

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themost obvious icon for distinguishing nation-states, and it is flown over all

officialbuildings in the country that it represents. Flags are the easiest ways to tell apart



their supporters wavenational flags too.



flags forgovernment use, civil flying, and wartime use. At sea, flags are called

and thereare three separate kinds available there as well–also government, civil, and


purposes.However, there are some nations that maintain six different flags



Pacific andAtlantic oceans which bound the country on either side, or the two founding

cultures,English and French (Akora.com 2010).

The Canadian Flag.


states, and it is flown over all

represents. Flags are the easiest ways to tell apart





flags forgovernment use, civil flying, and wartime use. At sea, flags are called ensigns,

also government, civil, and


purposes.However, there are some nations that maintain six different flags for all of the



e two founding

ANTHEM OR HYMN

National anthems, sometimes called national hymns, are less tangible state icons than

flags, but they are still very popular.

madeofficial shortly after a state became an official nation, usually in the 19th or

20thcenturies. But since many countries adopted anthems shortly after being released

fromcolonial influence, the large majority of

Europeanstyle. Only a few non

of choice.There’s a lot of variation in national anthems, especially in countries with

multipleofficial languages and cultures. Some cou

differentanthem lyrics for each official language. The tune remains the same, but the

meaning ofthe song varies slightly. Other countries simply don’t include lyrics in their

anthems tosolve the problem of language di

along to itsnational anthem, “La Marcha Real.”

NATIONAL COLORS

Fig 2.5:The American National Colors


Most countries have national colors that are used to represent the country outside

ofstandard icons like the flag. National sports teams might flaunt these colors, or people

might decorate with them for national holidays. As you would expect, most countries

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flags, but they are still very popular. Most non-European national anthems were


centuries. But since many countries adopted anthems shortly after being released

fromcolonial influence, the large majority of national songs are composed in the

Europeanstyle. Only a few non-European countries use indigenous music in their songs


multipleofficial languages and cultures. Some countries, like Switzerland, have adopted



anthems tosolve the problem of language discrepancy. Spain, for instance, doesn’t sing

along to itsnational anthem, “La Marcha Real.”

The American National Colors


fstandard icons like the flag. National sports teams might flaunt these colors, or people



European national anthems were


centuries. But since many countries adopted anthems shortly after being released

national songs are composed in the

European countries use indigenous music in their songs


ntries, like Switzerland, have adopted



screpancy. Spain, for instance, doesn’t sing


fstandard icons like the flag. National sports teams might flaunt these colors, or people


pull their national colors from the state flag. The United States’ national colors

shown in Fig 2.5 are red, white, and blue because those shades are used in the country’s

flag. In fact, the red-white-

well, including France, Cuba, Croatia, Costa Rica, and Liberia; all of these

use red, white, and blue in their flags as well.

ANIMAL

Fig 2.6:The dragon.


Most nation-states have an animal that epitomizes the country. Animals are often

officially recognized emblems of the nation, but not always.

animals are not even real. For example Albania, China, and Armenia, all consider the

dragon to be one of their national animals. Fig 2.6 shows The Dragon, Albania’s

National Animal.

INANIMATE OBJECTS

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pull their national colors from the state flag. The United States’ national colors


-and-blue combination is common in many other countries as

well, including France, Cuba, Croatia, Costa Rica, and Liberia; all of these

use red, white, and blue in their flags as well.

states have an animal that epitomizes the country. Animals are often

officially recognized emblems of the nation, but not always. Most times, national



INANIMATE OBJECTS

pull their national colors from the state flag. The United States’ national colors as


blue combination is common in many other countries as

well, including France, Cuba, Croatia, Costa Rica, and Liberia; all of these countries

states have an animal that epitomizes the country. Animals are often

Most times, national



Fig 2.7:The Eiffel Tower.


A lot of times, a nation will come to be known by one building, natural landscape, or

artifact. For example the Eiffel Tower for France or the Great Wall in China. These

icons become like shorthand for the nation itself. Lots of times pat

sanctioned by the government. They just become popular on their own. The Eifel

Tower shown in Fig 2.7 is a symbol of France’s Identity.

Symbolic national objects can be as simple as a maple leaf (Canada) or as complicated

as Machu Picchu (Peru). Either way, these things make you think about the country of

their origin, almost as much as the national flag.

PYSANKY SYMBOLISM

Pysanky refers to a Ukrainian Easter egg decorated using a wax

wordpysaty, ‘’to write’’, as d

reveals arich meaning of symbols and signs (Wikipedia 2010). Fig 2.5

different formsof Pysanky Symbolism.

CIRCLE

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icons become like shorthand for the nation itself. Lots of times patriotic objects aren’t


Tower shown in Fig 2.7 is a symbol of France’s Identity.


cchu (Peru). Either way, these things make you think about the country of

their origin, almost as much as the national flag.

PYSANKY SYMBOLISM

Pysanky refers to a Ukrainian Easter egg decorated using a wax-resist method. The

wordpysaty, ‘’to write’’, as designs are not drawn but written. The study of Pysanky

reveals arich meaning of symbols and signs (Wikipedia 2010). Fig 2.5

different formsof Pysanky Symbolism.



riotic objects aren’t



cchu (Peru). Either way, these things make you think about the country of

resist method. The

esigns are not drawn but written. The study of Pysanky

reveals arich meaning of symbols and signs (Wikipedia 2010). Fig 2.5 – 2.12 show

It represents completeness, continuity and the cyclical nature of the unive

Christian interpretation denoted the sun as the center of the universe, the giver of

fertility, the victory over evil and darkness. The circle containing a dot is said to

represent the moment when the earth receives the light of the sun and c

the spring. In the Christian tradition, the circle may be associated with God because of

its perfection and its ability to unite.

Fig 2.8:Circle symbolism in Pysanky.

Source: Ebookpedia (2010)

SWASTIKA

Swastika is a symbol of happiness,

is often seen with rounded corners or in the form of the windmill or Maltese cross. The

hooks are sometimes stylized to form leaves. It reflects the significance of the magical

number three.

Fig 2.9:Swastika symbolism in pysanky.


DOTS

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It represents completeness, continuity and the cyclical nature of the unive



represent the moment when the earth receives the light of the sun and comes to life in


its perfection and its ability to unite.

Circle symbolism in Pysanky.


Swastika is a symbol of happiness, blessings, good fortune and good will. The swastika



wastika symbolism in pysanky.


It represents completeness, continuity and the cyclical nature of the universe. The pre-



omes to life in


blessings, good fortune and good will. The swastika



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Dots of all sizes represent the stars in the heavens, tears or fixed points that have no

beginning or end. They may represent a cuckoo's egg, which is a symbol of spring and

carries with it the magical powers of predicting the future. A dot with a circle enclosing

it represents the axis of the universe, eternity seen within an egg.

Fig 2.10:Dots symbolism.


TRIANGLE

The triangle is a very basic ideogram and, like the tripod, always signifies a trinity. In

pagan times, the trinity represented was the elemental air, fire and water or the heavens,

earth and air. In Christian symbolism, the Holy Trinity is most often represented.

Fig 2.11:Triangle symbolism.


LINES

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Formed by a series of dots, there are many linear variations:

Straight Line: The straight line encircling the egg symbolizes eternity or the continuous

thread of life.

Fig 2.12:Straight line symbolism.


2.1.2 SYMBOLISM IN ARCHITECTURE

Architecture is ideology frozen in time. As long as it is not destroyed, architecture is a

permanent, synchronic existence. But beneath any surface synchronicity, there is

always a layer of historicity, the specific moment when a structure was conceived and

constructed (Tay 1995).

Functionalism is generally considered as the guiding principle of the Western modernist

architecture movement during the first half of the twentieth century. The essence of

functionalism is perhaps best summed up by Louis Sullivan's well-known aphorism

"form follows function" (1896). Functionalism or architectural modernism is not only a

significant change in aesthetic paradigm, but is also a new way of confronting new

materials and different modes of making and producing.

The importance of architecture is not an abstract theoretical issue. Its cost is too great,

its symbolism too profound. The challenge for architecture is to transcend the

conventional and create the new. This is not a search for innovation for its own sake,

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but a search for a language that responds to new needs and aspirations and is

sufficiently authentic to allow the users to identify with it today and cherish it

tomorrow.

The task of the architect is to create a physical environment readily identifiable by a

society as its own. Building within contemporary societies sets before the professional

the challenge of identifying, understanding and creating forms and spaces which are at

once new and familiar, which convey a sense of specific identity and which are

nonalienating.

Architectural criticism and theory has developed a rather sizable literature on the

symbolism of architectural forms. The methodology of investigating the processes

through which forms become symbols has borrowed heavily from the vocabularies and

theories of linguistics and structuralism. However, the material under scrutiny has, for

the most part, been drawn from examples of Western architecture: Roman,

Renaissance, Neoclassical or International Modem. While the observations generated

through such approaches may indeed be universal, it seems conceivable that at least

some of the observations and principles may be culturally specific. The inclusion of

inscriptions on buildings enhances the meaning and perhaps the symbolism of its forms.

In themselves they are also signs and symbols. The content of an inscription gives its

initial, specificmeaning to a building, but its very presence provides the obligatory sign

which validates a building within a socio religious context. The extent to which a

particular arrangement of space-for example, the courtyard plan-carries an extensive

series of perceptual and cultural meanings are somewhat more difficult to ascertain

(Holod, 1979).

2.2 HISTORICAL BACKGROUND OF IDENTITY

24

In recent years, scholars working in a remarkable array of social science and humanities

disciplines have taken an intense interest in questions concerning identity. Within

political science, for example, we find the concept of ’identity’ at the centre of lively

debates in every major subfield. Students of American politics have devoted much new

research to the ‘identity politics’ of race, gender and sexuality. In comparative politics,

‘identity plays a central role in work on nationalism and ethnic conflict. The meaning of

‘identity’ as we currently use it is not well captured by dictionary definitions, which

reflect older senses of the word. Our present idea of “identity” is a fairly recent social

construct, and a rather complicated one at that. Even though everyone knows how to

use the word properly in everyday discourse, it proves quite difficult to give a short and

adequate summary statement that captures the range of its present meanings. Given the

centrality of the concept to so much recent research – and especially in social science

where scholars take identities both as things to be explained and things that have

explanatory force – this amounts almost to a scandal. At a minimum, it would be useful

to have a concise statement of the meaning of the word in simple language that does

justice to its present intension. Thus, “identity” in its present incarnation has a double

sense. It refers at the same time to social categories and to the sources of an individual’s

self-respect or dignity. There is no necessary linkage between these things. In ordinary

language, at least, one can use “identity” to refer to personal characteristics or attributes

that cannot naturally be expressed in terms of a social category, and in some contexts

certain categories can bedescribed as “identities” even though no one sees them as

central to their personal identity. Nonetheless, “identity” in its present incarnation

reflects and evokes the idea that social categories are bound up with the bases of an

individual’s self-respect. Arguably much of the force and interest of the term derives its

implicit linkage of these two things (Fearon, 1999).

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2.2.1 ASPECTS OF IDENTITY

SOCIAL IDENTITY

Social identity is the concept of individuals labelling themselves as members of

particular

social groups—such as Nationality, Social class, Subculture, Ethnicity, Gender and

Employment (Wikipedia, 2004).

A simple answer to the question “what is identity?” would be this: It is how one

answers the question “who are you?” Or, my identity is how I define who I am. When

academic authors offer brief clarification of what they mean by the word, this is often

the way they do it (“a person’s identity is how the person defines who he or she is”).

One might answer the question “who are you?” entirely differently in different

circumstances. For example, depending on the context, I might answer “a Nigerian,” “a

professor,” “a son-in-law,” “a taxpayer,” “a Democrat.” By this simple definition, then,

it is trivial that one might have multiple identities, understood simply as answers to the

question “who are you?” since how you answer the question will depend on the specific

context.

So here is a first cut at a definition. An identity is something that fits as X in the

sentence

“I am an X.” In logical terms, an identity is a predicate that applies (or may apply) to a

person, that is, a quality or property of a person (Fearon, 1999).

PERSONAL IDENTITY

26

Asked to explain the meaning of “identity” in the sense of personal identity, one is

againtempted to begin with a formulation like “how a person defines who he or she is;

self-definitionor self-understanding.” Once again, however, it is apparent that there are

many different ways that a person might define who he or she is. Which one

corresponds to personal identity? And “self-understanding” is really too broad and

vague to be right. Many things might reasonably be included in “self-understanding”

that we would not say are matters of identity.

When we say that my identity is “who I am,” we mean “who I really am,” in some sort

of essential or fundamental way. We are talking about an aspect of ourselves that is in

some way important to us. It would go against usage and our understanding of the

concept to say that some aspect of one’s (personal) identity was a matter of complete

indifference – that one could take it or leave it with total equanimity (Fearon, 1999).

2.2.2 WEB OF IDENTITY

There is no straightforward relationship between identity and social concepts such as

Religion, Family and Gender. Our identities are embedded in a Web of Identity

(Prevos2004), -shown in fig 2.13- which is a visual representation of the intersection

between identity and society.

27

Fig 2.13:Web of Identity

Source: (Prevos, 2004).

The postmodern concept of social identity has shown that there is no fixed concept of

identity; we are not simply defined by our Profession, Gender or any of the other social

categories in the Web of Identity. When investigating the lives of individuals one finds

that, although people make their own choices in life, these choices are embedded and

limited within the social structure (Prevos, 2004).

Individual identity is thus as much as social construction as a construction by the

individual, both the interactionist and the structuralist account of the construction of the

self seem to be valid. Identity and social structure are in a symbiotic relationship as

either cannot exist without the other.

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2.2.3 IDENTITY AND CULTURE

Too often, we make assumptions about a person’s beliefs or behaviours based on a

single cultural indicator, particularly race or ethnicity, when in reality, our cultural

identities are a complex weave of all the cultural groups we belong to that influence our

values, beliefs, and behaviours.

Both identity and social structure propel each other forward in an eternal flux, like a

dog chasing its own tail. Thus culture is the proponent of identity as it possesses the

basic information of social structure (Prevos, 2004).

Cultural identity development is an on-going process, as we are exposed to more and

different sets of beliefs and values, and may choose to adopt ones that were not part of

our original upbringing. Cultural identity is constructed within the individual, but

continually influenced by the interactions among and between people in society.

Cultural identity is informed by socio-cultural and historical perspectives that interact

with psychological and intrapersonal characteristics so that all are present in learning.

Often, culture is thought of as the foods, music, clothing, and holidays a group of

people share but it is actually much larger than just those visible traditions. Culture is a

combination of thoughts, feelings, attitudes, beliefs, values, and behaviour patterns that

are shared by racial, ethnic, religious, or social groups of people. Culture refers not only

to those that we are born into (racial or ethnic groups), but also those that we choose to

belong to, such as religious or social groups.

29

Culture is not static; it is dynamic. We often move between cultures. A person may

grow up on a rural farm, but choose to live in an urban environment. Similarly, one

might grow up in a poor family, but become more affluent as an adult and interact with

others who are also more affluent. Another cultural shift occurs when children grow up

in families in which gender roles are pre-determined, but enter the workforce and adjust

their ideas about what are acceptable roles for men and women (Prevos, 2004).

2.2.4 ELEMENTS OF CULTURE

Sociologists and anthropologists have identified many basic elements that are present in

our cultural interactions. These elements interact with each other and result in patterns

of behaviour that are shared (Quenemeon, 2008).

1. LANGUAGE

Language includes not only spoken and written words, but also non-verbal

communication forms such as the use of eyes, hands, and body. We all use different

levels of language in our everyday interactions. Language can be formal, technical, or

informal, dependent upon the situation and people we are involved with.

2. GENDER ROLES

How a person views, understands, and relates to members of the opposite sex; what

behaviours are appropriate. It is common in many cultures for there to be different rules

governing the behaviours of boys and girls; some of these rules will be explicit, some

only implicitly understood by in-group members. Many cultures believe that girls

should be nice, quiet and reserved, while boys are allowed to be assertive, aggressive,

and loud (Quenemeon et al 2008).

3. SPACE/PROXIMITY

30

Accepted distances between individuals within the culture; appropriateness of physical

contact. Shaking hands is seen by some as a very personal action, not to be shared by

strangers; others may see it as a customary and appropriate way of greeting.

Similarly, in some groups, hugging and kissing upon meeting are standard forms of

greetings; other people may be extremely uncomfortable with this level of contact.

Rules for physical contact may be based upon gender or upon the relationship between

the people involved (Quenemeon et al 2008).

4. FAMILIAL ROLES

Beliefs about providing for oneself, the young, the old; who protects whom. The age at

which a person is expected to become autonomous varies between cultures. In some,

children move out of the home and care for themselves in mid to late adolescence, and

in others it is acceptable for a person to live with his or her parents throughout life.

Different standards also exist for caring for elderly members of families. Some groups

will take an elderly parent or family member into their home, while others will place

the family members in provided care, such as nursing homes (Quenemeon et al 2008).

5. GROOMING AND PRESENCE

Cultural differences in personal behaviour and appearance such as laughter, smile,

voice quality, gait, poise, and style of dress, hair or cosmetics.

Presence includes one’s posture and eye contact; in some cultures a person’s place in

society dictates their acceptable presence. Accepted standards also vary within cultural

groups by age.Grooming styles also vary by culture. In some cultures, it is considered

not only appropriate, but also important to cover flaws and accentuate positive features

with clothing, grooming, dressing, and makeup. In other cultures, such behaviour

would be considered bold and inappropriate (Quenemeon et al 2008).

31

2.2.5 IDENTITY IN ARCHITECTURE

Building owners value using good design to create architectural identity for their

institutions. Creating a consistent and strong identity addresses several important

issues.

A compelling architectural identity can help an institution capture market share by

drawing attention to its facilities and establishing a strong positive image. Identifiable

architectural features are also important for maintaining brand consistency across an

institution. In addition a distinct architectural image helps with way finding by

providinga visual point of reference for both those arriving and those within a facility

(Quenemeon et al 2008).In many buildings, there are often identifiable architectural

characteristics that are already established. In these cases, it is important to relate or

incorporate elements from the existing architectural vocabulary into a building. At the

same time, new building projects often must address new site context issues or breathe

new life into the established architectural identity.

Architecture alone, as an object has no identity. Its identity comes out of the timeless

qualities of a society, whether they are religious, economic, and ethnic or something

else.

Architecture per se has no identity. So in the creation of identity we must bring in those

timeless qualities from culture and the other things that give identity to architecture.

There are inherent limitations in the practice of architecture. We all know that. But we

must still deal with the different particulars in order to gain credibility in the eyes of our

society among ourselves we may generalize. In front of the public we must deal in

32

particular details. Or difficult particulars Abstractions do not bring us credibility, and

after all we are talking about making the public aware of our problems (Soon, 1983).

2.3 EVOLUTION OF SYMBOLISM IN ARCHITECTURE

Questioning the origins of house traditions, their relation to social structure and their

often dense symbolisms has become a new standard since the publishing of Paul

Oliver`s Encyclopaedia of Vernacular Architecture of the World' (EVAW) in 1997. It

has raised the ethnology of the house and of dwelling to a new global level.

In understanding the evolution of cultural symbolism of house structures, there are

some basic questions that must be answered:

• Is the vernacular house merely the result of external factors that were perceived by

humans and used to produce house forms?

• Was it rather the human being producing ideas which were materialized and kept

through time, thus producing often bizarre forms as an expression of the human mind?

• Can it be understood that the house itself and its precursors are a result of a relatively

autonomous development, which autonomously produced structural conditions that

were perceived by human beings, then actively recreated and further developed?

Roxana Waterson published in her book on Southeast Asian vernacular architecture

with the title 'The living House'. A small house form used as a Mausoleum. The roof is

surrounded by wildly protruding plant symbolisms (Waterson, 1990).

Fig 2.14: An Asian House form

Source: Waterson, 1990.

Fig 2.15: shows the five main evolutionary lines of culture.

Fig 2.15: The five main lines of cultural evolution

Source: home.worldcom.ch

From the figures, it can be seen that:

(1) Shows the hominoid tradition of nest building, tree nests, night camps and ground

nests with rooted materials, the l

(2) A further important process is the evolution of the semantic domain: the use of

fibrous and fibro constructive signs and symbols. Most important in this line are the

impacts of the first tools: mat

construction which allowed a great formal, functional and topological differentiation of

architecture. Equally important is the development of categorical polarity with semantic

architecture. It forms a model

33

An Asian House form

shows the five main evolutionary lines of culture.

main lines of cultural evolution

home.worldcom.ch

From the figures, it can be seen that:


nests with rooted materials, the latter forming the subhuman prototype of architecture.



impacts of the first tools: materials can be cut and transported elsewhere for



architecture. It forms a model to see categorical polarity of natural forms (e.g. top and


atter forming the subhuman prototype of architecture.



erials can be cut and transported elsewhere for



to see categorical polarity of natural forms (e.g. top and

34

trunk of tree and horns and head of animals) in analogy with the categorical polarity of

self-made artefacts.

(3) The later huts and houses are formed by the two primary lines.

(4)The primary sedentary type is agrarian village, in which semantic architecture is the

source of ontological developments.

(5) The urban line takes over the agrarian system but manipulates it either by

monumentalizing or verbalizing and fixing it in this form.

These transitions are of great importance even today. Conventional theories are fixed

on history in the strict sense. The new traits only show when using structural history or

anthropological definition of material culture.

2.4HISTORICAL BACKGROUND OF THE IGALA PEOPLE

Igala are an ethnic group of Nigeria. Igala practice a number of different religions,

including animism, Christianity, and Islam.

The home of the Igala people is situated east of the river Niger and Benue confluence

and astride the Niger in Lokoja, Kogi state of Nigeria. The area is approximately

between latitude 6°30 and 8°40 north and longitude 6°30 and 7°40 east and covers an

area of about 13,665 square kilometers (Oguagha P.A 1981). The Igala population is

estimated at two million, they can also be found in Delta, Anambra and Edo States of

Nigeria. The Igala language is closely related to the Yoruba and Itsekiri languages.

In Igala tradition, infants from some parts of the kingdom, like Ankpa receive three

deep horizontal cuts on each side of the face, slightly above the corners of their mouths,

as a way of identifying each other. However, this practice is becoming less common.

35

The Igalas are ruled by a father figure called the Attah. The word Attah means 'Father'

and the full title of the ruler is 'Attah Igala', meaning, the Father of Igalas (the Igala

word for King is Onu). Among the most revered Attahs of the Igala kingdom are Attah

Ayegba Oma Idoko and Atta Ameh Oboni. According to oral tradition, Attah Ayegba

Oma Idoko offered his most beloved daughter, Inikpi to ensure that the Igalas win a

war of liberation from the Jukuns' dominance. Attah Ameh Oboni is known to be very

brave and resolute. He is revered for his stiff resistance of the British and his struggles

to uphold some ancient traditions of the Igalas. When he got wind of a plan to depose

and exile him by the British, he committed suicide by hanging himself to forestall the

plan; he is regarded by most Igalas as the last real Attah Igala. The present Atta is his

highness, Atta Aliyu Ocheja Obaje.

Igala territory in Nigeria

Fig 2.16:Map of Nigeria showing Kogi state.

Source: Kogi State Ministry of Industry and Tourism (2009)

Fig 2.17:Map of kogi state showing

Source: www.mapquest.com/maps

2.4.1 ORIGIN OF THE IGALA PEOPLE

36

Map of Nigeria showing Kogi state.

Source: Kogi State Ministry of Industry and Tourism (2009)

Map of kogi state showingIgala Territory in Magenta

quest.com/maps

.1 ORIGIN OF THE IGALA PEOPLE

37

The Igala are identified by the old oral tradition of Western Igbos as descendants of

Igbo migrants who migrated westward during the expansion of the proto-Igbo peoples

at the beginning of the 1st millennium. The Yoruba are in turn identified by some

Igalas as descendants who continued on west and eventually settled across Western

Nigeria and Benin.

The traditional Igala society is largely agrarian, although fishing is also a mainstay of

the people especially the Igalas of the riverine Idah area.

Boston (1968) believes that the central geographical location of the Igala people has

exposed them to a wide variety of linguistic as well as cultural influences from other

ethnic groups in the country. Notable among these are the Igbira, the Bini, the Igbo, the

Hausa, the Idoma and the Yoruba ethnic groups. However, the most significant

relationship, by far, is that between the Igala and the Yoruba peoples.

Igala and Yoruba have important historical and cultural relationships. The languages of

the two ethnic groups bear such a close resemblance that researchers such as Forde

(1951) and Westermann and Bryan (1952) regarded Igala as a dialect of Yoruba.

Akinkugbe (1976,1978) is of the opinion that based on evidence, Igala is neither a

dialect of Yoruba nor a language resulting from the fusion of Yoruba and Idoma as

claimed by Silverstein, but rather Igala shares a “common ancestor” with Yoruba. In

her words, “... this common ancestor was neither Yoruba nor Igala but what we have

labelled here as Proto-Yoruba-Itsekiri–Igala (PYIG). The evidence suggest further that

38

presumably, Igala separated from the group before the split of Yoruba into the present

day Yoruba dialects considering the extent of linguistic divergence found between Igala

on one hand, and the rest of Yoruba on the other” (1978: 32) Akinkugbe cites

lexicostatistic evidence as well as evidence of sound shifts and lexical innovations as

support or corroboration of this claim.

Other comparative works aimed at investigating the language status of Igala (directly

and indirectly) are Omamor (1967) and Williamson (1973). In fact, Williamson is the

originator of the label ‘Yoruboid’ for the group of languages comprising Yoruba,

Itsekiri and Igala for the purpose of distinguishing “between Yoruba as a language on

the one hand, and Yoruba, Itsekiri and Igala as a genetic group on the other”.

(Akinkugbe 1976:1) Akinkugbe refers to the proto- language of the group as Proto-

Yoruboid in 1976 and Proto-Yoruba-Itsekiri-Igala (PYIG in 1978.Contemporary

historians believe that the Igala most likely shared a proto-Kwa ancestry with the

modern Igbo and Yoruba people as well as most ethnic groups of Nigeria today. Thus,

the ethnic family would include not only the prior two, but groups like the Idoma, and

the Nupe to the north.

2.4.2 A BRIEF HISTORY OF THE IGALA KINGDOM

It is not possible to assign any specific date as to when the Igala kingship or the

institution of the Attahship began due to the absence of historical records and the

diversity of legends and traditions surrounding these institutions. Various traditions link

the Igala kingship with the Yoruba, Nupe, Benin and Jukun. Similarities as well as

differences in the institutions of divine kingship and court ceremonials among the Igala,

39

Yoruba, Benin and Jukun have led among other things to controversies among

historians about the origin of Igala kingship.

Some (historians) claim that the first Igala came from Yoruba, others say that he came

from Benin. Others believe that he came from Jukun. These claims or hypothesis make

many people believe that the members of Igala ruling family are aliens. But others

believe that the origin of Igala kingship is Igala.

2.4.3THE DIFFERENT TRADITIONS THAT LINK THE IGALA KINGSHIP

TO THE YORUBA, NUPE, BENIN AND JUKUN

THE IGALA KINGSHIP AND YORUBA CONNECTION

a. Bishop Crowther: Bishop Ajayi Crowther recorded tales of a foreign prince who

migrated to Idah at an unknown date. ‘A Yoruba Oba travelled to Rabba the old Nupe

capital on the Niger and beseeched the Nupe king to provide him with a suitable

habitat. He was taken to Idah where the Akpoto the owners of the land allowed him to

stay.

b. Adolphe Burdo: Adolphe Burdo in the course of his journey along the Niger in 1878

gave related version of the original story of the Igala kingship with that of Bishop

Crowther. Burdo writes that ‘After the annexation of the Yoruba to the Fulani by the

king. The Sultan of Rabba asked for another state in exchange of what he lost. Far from

being angry the sultan set out and descended the Niger and arrived at Idah which the

Akpoto then inhabited. He bought the territory and installed there the defeated

sovereign who took the title of Attah which signifies father or patriarch.

c. Dr. J. S. Boston: Dr. Boston seems to favour the view that the origin of the Igala

kingship is Yoruba. In his contributions to the journal of historical society of Nigeria

40

(No. 3 December 1962), he recognized the Yoruba, Benin and Jukun influence on Igala

kingship. He finally said that Yoruba link may be the most ancient.

THE IGALA KINGSHIP AND BENIN LINK

a. Bishop Crowther: During his visit to Idah in 1854, Bishop Crowther also recorded

another story about the origin of the Igala kingship. According to Bishop Crowther, the

Igala country originally belonged to Akpoto tribesmen and that the king was named

Igala (Ogala). The first Attach was a hunter by profession who came from a tribe

named Ado (Edo) to the west of the Niger. He curried favour with Igara the king by

gifts of game. Later as a result of a quarrel, he expelled Igara (the king) from Idah and

became king.

b. Chief Amana Edime: Chief Amana Edime, the Ochai Attah of Igala is of the view

that the origin of Igala kingship is Benin. He noted that there was a Benin Prince and a

hunter who set up a camp at Ojuwo Atogwu (Attah Ogwu) near Igalogba. He gave gifts

of game to the local population. The prince was said to have miraculous powers of

healing sick people in the area. Because of these alleged divine powers and popularity

and with the people and when asked to accept the kingship (he) agreed.

c. Mr. Jacob Egbarevba: A Benin historian, Mr. Jacob Egbarevba is also of the view

that the origin of the Igala kingship is Benin. According to him, the first Attah was a

Benin Prince who was sent there by an Oba of Benin.

d. Mr. K. C. Murray: Mr. K. C. Murray a historian and fine Artist is of the opinion that

the origin of Igala kingship is Benin. In his discussion of the Royal Mask (Eju b’eju

ailo) at Idah, he said that is was a beautiful example of Benin work of fairly early

period when Ife influence was strong.

41

e. V. G. T. Mott: Mr. G. T. Mott, a former British Colonial Officer in the Igala division

argued in an unpublished report that the origin of the Igala kingship is not Jukun but

Benin. He based his deductions on probable Benin origin of Attah’s mask(Eju beju

ailo) the wearing of beads on the wrists as symbols of chieftaincy and the keeping of

the kings death secret for a number of years.

THE IGALA ORIGIN OF IGALA KINGSHIP

Okwoli P. E.: In 1973, the author (Mr. Okwoli P. E.) concluded that the origin of the

Igala kingship is Igala. According to him, Idah the traditional Igala capital had the

economic, social and geographical factors which enabled the earliest inhabitants to

evolve their kingship. He believes that the earliest Igala Attah lived in the Igalamela

area called Opata (Olopu Attah). He also believes that at certain stages of the

development of the Igala kingship at Idah certain importance influences such as the

political intrusions of new rulers reached Idah, first from Benin and secondly from

Jukun. He also identified three dynasties in the development of the Igala kingship Igala,

Benin and Jukun dynasties.

THE IGALA KINGSHIP AND JUKUN CONNECTIONS

Mr. Clifford Miles: Mr. Clifford Miles former British Colonial Divisional Officer in

Igala, firmly views that the origin of Igala kingship is Jukun. The Igala chiefdom he

argued was founded by the ancestress Queen Ebulejonu, the daughter of Abutu Eje a

noble of the Jukun court at Wukari. Abutu Eje left Wukari with a large crowd as a

result of political reasons and migrated westwards along the southern bank of the river

Benue and came to a temporary halt in the vicinity of Amagede (now in Omala LGA)

where he Abutu Eje died, his daughter, stepped into her fathers shoes and led her

people from Amagede to Idah were she was installed as the first Attah Igala.

42

So began the regime of the Attah in Idah. It is not possible to give an accurate / precise

date to this event, but in all likelihood the colonization of the Agatu – Ochekwu Amara

(Omala) area occurred in the early part of the 17th century, and Ayegba’s arrival at

Idah towards the close. This tradition is generally accepted by the present Attah ruling

family at Idah.

Attah Aganepoje, Idoko and Ayegba Oma’Idoko On the death of Queen Ebulejonu her

brother Aganepoje was installed as the Attah Igala. When Aganepoje died, his son

Idoko took his place. When Idoko died his son Ayegba Om’Idoko was installed as the

Attah Igala. Attah Ayegba Om’Idoko can be regarded as the political founder of the

present ruling Jukun dynasty in Igala, because the present Attah’s ruling families trace

their descent from him. Again the ruling sub-clans in the districts of Igalaland trace

their descent from him as well.

The Attah’s royal clans or families at Idah are divided into four ruling families. The

institution of Attah therefore rotates within these four ruling houses. Their founders are

Akogu, Ocholi, Amacho and Itodo Aduga. Their descendant are known as Aju Akogu,

Aju Ocholi, Aju Acho, and Aju Itodo Aduga. But the descendants of Itodo Aduga (Aju

Itodo Aduga) the descendants of Amacho (Aju Amacho) could be called Aju Aku or

Aju Akumabi, because Attah Akumabi was the founder of the group before it was split

into two for political reasons.

The list of Igala King it is obvious, judging from the age of the Igala kingship or

Attahship that the names of many Igala kings must have been forgotten or lost. For

example

i. Only two names of Igala kings are recorded during the period of the Igala dynasty

from about 1200 to 1450 AD.

ii. During the regime of the Benin dynasty, the only prominent Attah recorded by

43

historians was Aji-Attah. It was this Attah that led the Igalas during the Igala – Benin

war of 1515 – 1516. The Benin dynasty lasted from about 1450 – 1650 AD. However

an Igala historian, Mr. Yusufu Etu recorded the name of other Attahs during his period

and they were Olema I, Anogena, Agbo, Agochi and Olema II.

iii. An Igala chief (the Onupia) told Bishop Crowther during his visit to Idah in 1854

that twenty persons had taken the Attah Igala title since the office was instituted. He

said that the (then) Attah Igala (Attah Amocheje) was the twentieth. This means that the

present Attah Igala (His Royal Majesty Alhaji Aliyu Obaje) would be the thirty-first

Attah Igala and not the twenty – fourth beginning from Queen Ebulejonu of the Jukun

dynasty. Therefore the list of kings that exist as of now does not contain the names of

all the Attah’s of Igala.

iv. The wars of independence The Attah of Igala was historically a vassal of the Benin

and Jukun kings. In an attempt to be independent, the Attah fought two wars. The first

was Igala-Benin war of 1515-1516 and the second the Igala-Jukun was of the 17th

century AD.

The Igala – Benin was (1515-1516) During the reign of Oba Esigie (1504 AD) a war

was fought between the Igala ad Benin. The causes of the war were as follows:

i. The desire of both the Oba of Benin and the Attah of Igala to control trade along the

river Niger.

ii. The fear on the part of the Oba of Benin that the northern part of his kingdom was

not secure due to the expanding influences of the Attah Igala in that area.

iii. The personal friction between the Oba of Benin (Oba Esigie) and A Benin noble

man (the Oliha) who wanted to overthrow the Oba.

The reigning Attah Igala at this period was called Aji Attah. He was a younger brother

of Oba Esigie according to the traditions recorded by Mr. P. A Talbot, Mr. Talbot

44

recorded that during the reign of Oba Esigie, the Igala are said to have been said to

have been driven over to eastern side of the river Niger. Oba Esigie is also stated to

have defeated his younger brother Aji Attah of Idah. It may be that the Idahs had been

previously conquered and that the brother who had been put in charge rose against Oba

Esigie.

During this war the Portuguese Christian Missionaries fought on the side of Oba Esigie.

It was these missionaries who recorded the war. The Igala were defeated because the

Portuguese Missionaries introduced gins and firearms. After the war, the Attah Igala

secured his independence from the Oba of Benin, who now controlled the west bank of

the Niger. Around this time the town of Agenebode was founded to secure the northern

part of the Benin kingdom.

THE IGALA – JUKUN WAR 17TH CENTURY AD

Between the Igala Benin war and the Igala Jukun war, there was a gap of more than one

hundred and fifty years. It should be remembered that when Queen Ebulejonu

established the Jukun dynasty at Idah, Igalas once again lost their independence and

became a vassal to the Jukun king, the Aku Uka. Igalas continued to pay tribute to the

Aku until the reign of Attah Ayegba Om’Idoko.

As soon as Ayegba OmaIdoko was installed as the Attah Igala, he refused to pay these

tributes. The continued defiance of the authority of the Aku Uka of Wukari resulted in

him sending a force to bring Attah Ayegba to task. When the Jukun soldiers arrived at

Idah, fear and terror gripped all Idah people. A Muslim preacher advised Attah Ayegba

to sacrifice to the land spirit which he loved most to ensure the safety of his kingdom.

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But Attah Ayegba was not ready to accept the advice. His daughter princess Inikpi got

the information and realizing the danger threatening her father’s kingdom ordered a pit

to be dug at Idah waterside. She descended into the pit with her nine slaves and all were

buried alive. Again the Moslem preacher scarified another woman called Odoko so as

to save Attah Ayegba and his kingdom. This woman was also from the Attah’s family.

Her grave is in Angwa Ayegba village Idah. A clan named after her is called

‘Omodoko’. The Moslem preacher also prepared charm that was cast into the river

Inachalo. It miraculously produced a rise in the number of fish in the river, which the

Jukun ate. The result of the large consumption of fish (by the Jukum) led to an outbreak

of cholera in the Jukun camp. Attah Ayegba and his soldiers fell upon them and

inflicted a crushing defeat.

Attah Ayegba pursued the Jukuns with his soldiers as far as the river Ochekwu about

thirty kilometers west of Otukpo town. Here a truce was called and the boundaries

between the Igala and Jukun kingdoms was settled. With the settlement of boundaries

the Igala kingdom once more regained its independence.

TERRITORIAL EXPANSION

Attah Ayegba vigorously pursued territorial expansion of his kingdom. Successive

Attahs that did the same thing included the following: Akumabi, Akogu, Ocholi, Ameh,

Ocheje and Aku Odiba. By the end of 18th century AD. The Igala kingdom had

developed into a powerful state.

At the height of its power, during the reign of Attah Aku Odiba, the kingdom stretched

northwards across the Niger to embrace the Lokoja, Kotonkarfe and Kakanda people. It

also stretched northeast to include the Idoma country. The chiefs of Otukpo, Boju, and

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Adoka went to Idah to get beads of office from the Attah. The kingdom also stretched

eastwards covering the whole of the old Nsukka division and to Adamagu a few

kilometers north of Onitsha town. The kingdom also went westward to Ajakuta

covering the whole of the Igbira country.

THE ADMINISTRATION OF THE KINGDOM

Soon after the Igala Jukun war, Attah Ayegba began the reorganization of his kingdom.

He reorganized the central administration, the advisory council, palace and district

administration.

A. The prime ministerAttah Ayegba re-appointed Omeppa: the Achadu his prime

minster. This was because of his loyalty during the Igala Jukun war.

B. The royal councilors

Attah Ayegba created the offices of royal councilors. These offices are hereditary

within Ayegba descendants. The most senior royal councilors include the following:

Amana Attah, Ochai Attah, Makoji Attah, Odoma Attah, Egene Attah, Ohiemogbolo

Attah, Ekpa Attah, Inalogu Attah, Odekina Attah and Omolobu Attah.

C. The Igalamela and state advisory council Attah Ayegba re-constituted the state

advisory council made up of the Achadu; the prime minister, the senior royal councilors

and the Igalamela chiefs. The advisory council was the link between the Attah and his

subjects

D. The king makers

He also re-constituted a body known as the king-makers comprising the Achadu (prime

ministers) as the chairman, the Igalamela chiefs. They had responsibility for the

installation of the new Attah and the funeral rites of the deceased Attah.

E. The district Administration

Attah Ayegba Appointed his son and trustworthy relatives and followers as district

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heads. The district heads Attah Ayegba also decentralized authority, as it was not

possible to administer the whole kingdom directly from Idah at his period.

F. Palace administration In the Attah’s court there were two groups of officials; the

royal servants (Amedibo) and the Attah’s eunuchs (Amonoji) who were central in the

administration of the palace. The head of the Amedibo was Ogbe. There are chiefs in

their own right. These palace officials performed similar functions, they protected the

Attah, helped in mobilizing the people to repair houses, the palace walls and carried

messages to the districts and collected tributes for the Attah. They acted as

intermediaries between the Attah and his chiefs as well as his subjects, protected the

Attah’s treasures, royal robes and regalia. The eunuchs protected the Attah’s wives and

performed rituals for the Attah. The titled eunuchs were exclusive officers and their

head the Ogbe was an important judge in the kingdom, presiding over the Attah’s court

with the obligation of informing the Attah about court proceedings.

G. Women chiefs

Attah Ayegba established some chieftaincy titles for women. There are titles reserved

for women from Attah’s royal family (the Attah’s sisters). There are titles also reserved

for the Attah’s wives. Iye Ogbaba and Iye Dadu Akuma Attah, Iye Okponokwu, Iyya

Attah, Omiya Ina, Omiya Kekele (Omiakele).

The decline and fall of Igala kingdom Around the 18th century AD the Igala Kingdom

was at the height of its frame and power around the middle of the 19th century, it began

to decline and in January 1900, it finally lost independence and sovereignty. Two main

factors contributed to this, internal weaknesses and external forces.

a. The internal weaknesses

i. The size of the kingdom.

The first internal weakness was the sheer size of the kingdom. As it grew in size, it

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became more difficult to keep the remote districts under proper control due to poor

communications in those days.

ii. The constitution.

Another internal weakness lay in the constitution. The Igala state was a loose state with

the district heads in the northest exercising a kind of autonomy.

iii. The breakup of Igalamela

Another internal weakness was the removal of the Igalamela chiefs from state advisory

council. Attah Ameh Ocheje accused the Igalamela chiefs of assassinating his

predecessor Attah Ekelaga and replaced them with royal councilors. The Igalamela

chiefs who had checked the activities of oppressive Attah’s could not exercise this

function after their removal from the council.

iv. The collapse of the state economy Another internal factor which weakened the

kingdom and led to its decline was the collapse of the slave economy as the slave trade

was an important aspect of the state economy. The Igala people traded in slaves with

Europeans. In 1841, Attah Ameh Ocheje signed the treaty on the abolition of the slave

trade and so the kingdom could no longer openly trade in slaves. However the igala

kingdom was lucky it had alternatives produce like palm produce. This trade however

took a long time to develop.

b. The external factors

The external factors which led to the decline of the igala state were the Fulani Jihad and

European interventions

i. The Fulani Jihad.

The Fulani jihad launched in Sokoto in 1804 reached the confluence of the Niger and

Benue by 1850. In 1853 Etsu Masaba of Nupe took Koton Karfe and Lokoja, then part

of the Igala kingdom. The Igbira kingdom of Panda was also destroyed.

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By 1854, the Fulani had become a real threat to the kingdom, the sourthern bank

became flooded with refugees. They carried out sporadic raids in Ife district. The

refugees, who crossed to the Igala kingdom, begged Attah Amaga to allow them stay in

the area and he agreed. These refugees include Igbira Mozum, Bassa Nge, Bassa Komo,

thereby introducing a new clement into the Igala kingdom namely minority groups.

ii.The European intervention.

The European intervention came in the form of commercial firms eg the Royal Niger

Company. The British government gave a royal charter to this company in 1886. The

charter empowered the company to do business in the Niger Benue basin. The

company’s area of influence stretched from Asaba, its headquarters, to Jebba in the

river Niger and Ibi on the Benue river. The company opened trading posts at Idah,

Itobe, Gbobe and Bagana. Unfortunately it made unfavourable regulations that ruined

the economy of the local people. The Attah of Igala’s treasury was ruined.

iii. The declaration of the protectorates of Northern and Southern Nigeria

In 1900, the British government decided to take full responsibility for the territories

acquired by the royal Niger company. In January 1900, British formerly assumed a

protectorate over Northern and Southern Nigeria. With the death of Attah Amaga in

February 1900, the independent sovereign state of Igala came to an end.

Opposition to foreign rule was pioneered by Prince Akwu Agahiu, Attah Ocheje

Onokpa, Adukwu Okekwu and others.

Prince Akwu Agahiu was the first son of the Attah Amaga who died in 1900. During

his fathers reign, the royal Niger company controlled all the political and economic life

of Igala people. Atta Amaga’s treasury was empty.

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Prince Akwu Amaga had no alternative but to organize guerilla war fare against the

European traders and the royal Nigeria company. He was a nationalist opposed to the

European takeover of the political economic life of the people. He and his followers

raided the royal Niger company’s stires at Idah several times and killed many European

traders. He also organized guerrilla activities on the river Niger. The royal Niger

Company reacted by bombarding Idah town twice between 1896 and 1900.

Attah Ocheje was installed as the Attah Igala in 1901 under the supervision of British

colonial officials. After his installation he refused to believe that his predecessor Attah

Amaga had surrendered his sovereignty to the British Government. He also refused to

accept that his kingdom could be partitioned into northern and southern divisions. He

rejected a situation where he was not given any role in the administration of his

kingdom.

Despite Attah Ocheje Onokpa being a nationalist he could not rally his people to fight

the British administration. This was because the British administration succeeded in

isolating him from his chiefs and subjects an accused him of conspiracy and acts

capable of disturbing the peace in the area. As a result the colonial administration

deposed him in 1903 and banished him to Asaba where he died.

Another Igala nationalist who opposed foreign rule was Adukwu Okekwu. He and his

followers reorganized guerilla war against the British colonial administration. In march,

1903 Adukwu Okekwu launched an attack on the assistant district commissioner for

Idah Mr. Boyle and his escort of about twenty men. They were on their way from Idah

to the Anambra river creek (the Afa-Obale area in Ibaji) through Alade when attacked.

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My Boyle and his escort escaped and returned to Idah. The acting High Commissioner

Mr. Leslie Robyn directed that a small military expedition be sent to area. This military

unit attacked Adukwu Okekwu’s stronghold in the forest and destroyed the village. He

was captured and sent to Asaba for trial in the Supreme court of the Royal Niger

Company and sentenced to detention or exile for ten years. He was exiled to old

Calabar where he died. As a result of Adukwu Okekwu’s activities, military garrisons

were established in Idah and Ogrugu.

Other Igala nationalities who opposed foreign rule were Odoma Okolobade (a brother

to Attah Ocheje Onokpa) Ujogo Onegote (Onu Egume) Inedu Obi (Onu Ankpa),

Oguche Agi (Onu Ankpa) etc. These people were suppressed by military force.

OPPOSITION TO THE PARTITION OF THE IGALA KINGDOM

a. Attah Oguche Akpa, Prince Atabo Ijomi and Amanabo Ogili

In 1900, the Igala kingdom was partitioned into two. The southern section which

comprised the present Ofu, Igalamela / Odolu, Idah and Ibaji local government areas

were made part of Onitsha province of southern Nigeria. The Northern section which

comprised the present Bassa, Dekina, Omala, Ankpa and Olamaboro Local government

areas were made part of Bassa Province in Northern Nigeria. Bassa province was

divided into three administrative division:

i. Dekina division comprising: Bassa Komo, Dekina and Egume districts

ii. Ankpa division comprising: Abejukolo, Imane, Ankpa and Ogugu districts

iii. Boju division comprising: Idoma, ojokwu and Agatu districts.

The colonial administration appointed alien district heads mainly Hausa to rule in the

above districts. Idah the southern section of the kingdom was regarded by the

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government of southern Nigeria, as a district. A colonial high commissioner was

appointed to rule it. Some historians were of the opinion that the Attah was just a

powerful district head at that time.

b. The Igala rebellion (1916-17)

Attah Oguche Anapka like his predecessor Attah Oboni Akwu ruled only the southern

part of his kingdom. His sphere of influence was limited to the present Ofu Igalamela/

Odolu, Idah and Ibaji Local government areas. He knew that the British Government

had taken over his kingdom and there was nothing he could do about it. His main

concern was to re-unite his kingdom under the authority of the Attah Igala. Attah

Oguche Akpa was a well a cunning man and events played into his hands. In 1914, the

colonial administration appointed a Yoruba man called Mallam Ahmadu as the district

head of Dekina (Onu Ajobi), who was arrogant and oppressive. As a result, tempers

rose high in the whole Dekina divisions and Igalaland. The people were waiting for a

leader to emerge. The time was ripe for a change. Attah Oguche Akpa provided first the

type leadership most needed at this period. He could not come out openly to challenge

the British Government but remotely controlled the agitation seeking the reunification

of the Igala kingdom. He (Attah Oguche Akpa) sent for Prince Atabo Ijomi who at this

period was living at Itobe. He also sent for Amanabo Ogili (from the Ajaku royal

family) living at Ukpolo Obala. He held secret meetings with them on how to get the

Igala kingdom re-united. He asked the two men to monitor the activities of Onu

Dekina, Mallam Ahmadu.

Prince Atabo Ijomi and Amanabo Ogili were strong fighters and approached the priests

(Atama) of the Mahionu spirit for his support. This spirit was very powerful in those

days and the Atama was very influential. The Atama promised to fight on their side.

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With the spiritual support, Prince Atobo and Amanabo Ogili planned their strategies

together and waited for an opportunity to strike.

In January 1916, Chief Ahmadu (Dekina district head) decided to make a trip to Idah

town. There were rumours that he wanted to overthrow the Attah Igala. He began his

journey from Dekina to Abocho. As soon as he crossed the Dekina division boundary

into the Idah division near the Ugbabo Ochadamu area, Igala militia, selected and

armed by Prince Atabo and Amanabo Ogili ambushed chief Ahmadu and his escort.

Chief Ahmadu was killed. This marked the beginning of the Igala rebellion (1916-17).

Some historian call this rebellion, the Mahionu war. The militia went to Dekina through

Abocho and burnt down the place of Chief Ahmadu. The rebellion spread from Dekina

to Egume and to other parts of Ankpa division.

It was difficult for the colonial administration to stop the rebellion and were advised to

get in touch with Prince Atabo Ijomi. Prince Atabo was arrested and brought before the

colonial divisional officer in Dekina. After interrogating him the high commissioner

established that he could be used to bring peace. He was therefore asked to go from

village to village informing people to end the fighting. He did so and the Igala people

obeyed him, bringing rebellion to an end in 1917.

c. The reunification of the Igala kingdom and the creation of the Igala Native

Authority in 1918.

i. The re-unification of the Igala kingdom

The colonial administration investigated the causes of the rebellion and found out that

one of its causes was the partition of the Igala kingdom into Northern and Southern

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divisions. The investigators therefore recommended that the kingdom be reunited under

the authority of the Attah of Igala. The colonial administration accepted the

recommendation because it would help the indirect rule system or native authority

system to function well in Igalaland.

In 1918 Sir Richard Palmer (Governor of Northern Provinces) made representations

that resulted in boundary adjustment and the reunification of the kingdom.

ii. The creation of Igala Native Authority The Igala Native Authority was created in

1918 and Attah Oguche Akpa was asked to form a council. The Attah’s authority was

again restored to him. The Attah and his chiefs governed under modern conditions and

advised by colonial divisional officers. The Attah’s councils (1918-19) was composed

of the following royal councilors: Amanata Inalogu Attah Omolobu Attah , Egeunata

Makoji Attah Ohiemi-Ogbolo Attah Ekpa, Attah Odomata Ohioma Akuge

iii. The creation of districts 1918.

One of the first things Attah Oguche Apka did in 1918 was to create districts. Idah

division. In Idah division (where districts were and hitherto created because the area

was in southern Nigeria), Attah Oguche Akpa and his council created the following

districts: Idah waterside, Ibaji, Odolu, Ojoko (now Igalamela) and Amata (now

Ugwolawo), Itobe district was carved out of Ugwolawo, Igalaogba district carved out

of Egume district by Attah Obaje Ocheje in 1930.

Dekina division: In addition to the districts created by the colonial administration eg.

Dekina, Bassa, Komo, and Egume, Attah Oguche Akpa created Biraidu, Mozum and

Bassa Nge districts.

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Ankpa division: As well as the district created by the colonial administration namely,

Ankpa, Abejukolo, Ogugu and Imane, Attah Oguche Akpa creatdd Enjema and

Olomaboro districts. He also claimed back Ojokwu district from Boju division.

iv. Appointment of district heads.

Attah Oguche Akpa appointed district heads to head the newly created districts. The

alien Hausa district – heads appointed in Dekina and Ankpa divisions were allowed to

serve under Attah Oguche Akpa. It was during the reign of Attah Oguche Akpa that

many communities were created as Gago areas. As a result the community heads were

appointed as Gagos by the Igala Native Authority.

Short notes about some Attah of Igala

a. Attah Ayegba Omidoki

The importance of Attah Ayegba Omidoko in Igala history is that he won for the Igala

an independent kingdom. They were at one time vassals of Aku Uka or Wukari. During

his reign he declared the Igala kingdom an independent state, and defeated the Jukun

force that was sent by the Aku Uka to discipline him.

After the Igala-Jukun war, Attah Ayegba reorganized his kingdom by appointing his

sons or relations or trustworthy friends as Onus or district heads. Attah Ayegba is the

founder of the present Attah’s ruling dynasty. Ayegba’s children Akumabi Akogu and

Ocholi became Attahs and founded the present ruling dynasty in Idah.

b. Attah Akumabi Ayegba (2nd Atta from Ayegba)

Akumabi was the first son of Attah Ayegba Omidoko. During the reign of Attah

Ayegba, Akumabi was one of the royal councilors in his father’s council. His father

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gave him the chieftaincy title of Amanata. He was the first person to be given the

Amanata chieftaincy title. When his father died, he succeeded him. He was blessed

with all the organizational and administrative qualities of his father and maintained the

existing boundaries of his kingdom as settled by his father Ayegba. He made no further

conquests.

c. Attah Akogbu Ayegba (3rd Atta from Ayegba)

Attah Ayegba Omidoko gave his son the royal chieftaincy title of Odomata, the first

person to take this title. As a result he was a member of Attah Ayegba’s council. When

his brother Attah Akumobi died he succeeded him. He was the third Attah of Igala from

Ayegba Omidoko and continued with the policy of his elder brother Akumabi. He too

made no further conquests, rather a man of peace who ruled his people justly. d. Attah

Ohiemi Obogo (Ocholi Ayegba) 4th Attah Igala from Ayegba. His father Attah Ayegba

Omidoko gave him the royal chieftaincy title of Makoji Attah, and the first person to

take this chieftaincy title. He served in his father’s council as a royal councilor. When

his brother Atta Akogu died he succeeded him. He was a fighter, a war leader and

moved the frontiers of his kingdom eastwards and southwards to Igboland. He was a

vibrant, open minded and disciplined ruler. e. Attah Amacho and Attah Itodo Aduga

The above named Attahs were brothers and sons of Attah Akumabi, Amacho was the

first son. When it was the turn of the Attah Igala after the death of Attah Ohiemi Obogo

(Ocholi), Prince Amacho was chosen. Unfortunately Amacho died after his installation.

The Attah Igala ruling houses and the king makers then met and asked his younger

brother prince Itodo Aduga to replace him. Since then the children of Amacho and

Itodo Aduga formed separate lineage with succession to the throne of the Attah Igala

together with the children of Ocholi and Akogu lineages. f. Attah Ekelaga (Circa 1824-

1839( (11th Attah Igala from Ayegba) There are two important events to note about the

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reign of Attah Ekelaga. These are: i. He was the first Attah Igala to come in contact

with the Europeans. In 1832, the leaders of Niger expedition (MacGregor Laird,

Richard Hander, and Dr. Old field) met Attah Ekelaga in Idah. The leaders of the

expedition prepared a draft treaty concerning the cessation of Lokoja to Britain and the

abolition of the slave trade. The treaty was not signed because Richard Lander died in

Fernado Po.

ii. He was the first Attah Igala to be assassinated. He was assassinated by the palace

eunuchs and the kingmakers headed by the Achadu Abutu Ejigbo. The reason given

was he was tyrant, and that his reign was too long.

g. Attah Omocheje (Circa 1840-1858) (The 12th Atta Igala from Ayegba)

Attah Amocheje was the first Attah to attack the previleges of the kingmakers,

believing that they were responsible for the assassination of his predecessor, Attah

Ekelaga. He removed all of them except the Achadu from the Attah’s advisory council.

As a result, the status of the kingmakers declined. He replaced the kingmakers in the

council with royal councilors, and as a result the status of the royal councilors

increased.

It was during the reign of Attah Amocheje that the famous 1841 Niger expedition

reached Idah town. The captain of the ship (Captain Trotter) and his men went to

Attah’s palace to present him with gifts from the Queen. After long negotiations, the

abolition treaty was signed by Attah Amocheje. Attah Amocheje also ceded a piece of

land near the confluence, the area covering the present day Lokoja and Ajaokuta to the

British Government for a model farm. He received seven hundred thousand cowries.

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h. Attah Aku Odiba (Circa 1859-62) (The 13th Atta Igala from Attah Ayegba)

It was during the reign of Attah Akwu Odiba that the Igala kingdom reached its greatest

height and fame. The kingdom stretched southeast to Nsukka, and Onitsha, northeast to

Oturkpo and Igumale, northeast to Lokoja and Koton Karfe.

It was during his reign that European traders and companies became active on the river

Niger. It was also during his reign that Dr. William Baike founded Lokoja town in

1860. This led to the establishment of the great lokoja market in 1860, the market that

was the greatest in the central part of Nigeria.

i. Attah Okoliko Onuche (Circa 1863-1882) The 14th Atta Igala from Ayegba).

The importance of Attah Okoliko Onuche’s reign in Igala history is that it marked the

beginning of the decline of the Igala state.

Attah Okoliko’s reign saw the collapse of the state economy which was partly based on

the slave trade. Attah Amocheje had signed the abolition treat in 1841, so Attah

Okoliko could no longer openly trade in slaves.

The Fulani jihad reached the confluence of the Niger and Benue. During the reign of

Attah Okoliko. The Fulani destroyed the kingdom of Panda which was allied to the

Attah Igala. At the same time the Fulani founded the Emirate of Nassarawa. As a result

of the Fulani raids, the Igbira, Bassa Komo and Bassa Nge began entering the northern

part of the Igala kingdom by crossing the river Benue. They came on friendly terms and

Attah Okoliko allowed them to stay.

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During the reign of Attah Okoliko, the European traders actively traded on the Niger.

The royal treasury and the economy were in shambles as the Attah and his chiefs no

longer had the monopoly of the European trade.

j. Attah Amaga (Crica 1884-1900) (The 15th Attah from Ayegba)

Attah Amaga took the Attah Igala’s throne when Attah Okoliko died. He also inherited

Attah okoliko’s problems. These included the Fulani jihad and the activities of the

European traders on the Niger.

As a result of the Fulani raids in the confluence of the Niger and Benue, Bassa Komo,

Bassa Nge and Igbira refugees poured into Igalaland in thousands. Attah Amaga could

not enforce his authority in the northern part of the kingdom.

In 1886 Tubman Goldie was granted a charter by the British Government to establish

the royal Niger company. The company was empowered to govern, keep order, and

protect the territories of chiefs with whom it had concluded treaties. The company

greatly weakened the position of Attah Amaga, and people were dissatisfied. This gave

rise to guerilla warfare on the Niger. As the situation got worse, a royal Niger company

ship bombarded Idah town in 1896.

On 1st of January 1900, the British Government decided to take over the administration

of the country, and declared the protectorates of Northern and Southern Nigeria. Attah

Amaga died in February 1900. His death marked the end of the independent Igala

Kingdom.

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k. Attah Ocheje Onokpa 1901-1903 (The 16ty Atta from Attah Ayegba)

Attah Ocheje Onokpa ascended the throne as Attah Igala in August, 1901. He was

installed under the supervision of a British Colonial Officer Mr. Charles Partridge.

The importance of Ocheje Onokpa in Igala history is his opposition to British rule and

the division of his kingdom into two. For example government areas were made part of

Onitsha province of southern nigeri. While the present Dekina, Bassa, Omala, ANkpa

and Olomaboro Local Government Areas were made part of Bassa Province of

Northern Nigeria. Attah Ocheje Onokpa was not satisfied with the whole situation. The

government of southern nigeria fearing an Igala rebellion accused him of an act likely

to disturb the peace. As a result, he was deposed and banished to Asaba. He was the

first Attah Igala to be deposed.

l. Attah Oboni Akwu (1905-11_ (The 17th Attah Igala from Attah Ayegba)

Attah Oboni Akwu was installed the Attah Igala in 1905 after a two year quarrel about

who should succeed the deposed Attah (Ocheje Onokpa). Ocheje Onokpa’s brother

Akwu Enede seized the throne by force. The British colonial administration after an

investigation approved the appointment of Oboni Akwu as the new Attah Igala. Like

his predecessors, Attah Oboni’s influence never went beyond the present Ofu Local

Government Area. Attah Oboni knew where the real source of power lay and therefore

ruled according to the wishes of the colonial administration. It was during the reign of

Attah Oboni Akwu that the famous government school was opened at idah in 1908,

Idah prison was also opened the same year. The construction of the Idah – Nsukka road

was begun during his reign. He died in 1911.

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m. Attah Oguche Akpa (1911-1919) (The 18th Attah from Attah Ayegba)

Like his predecessor Attah Oboni Akwu, Atta Oguche Akpa’s influence was limited to

the present Ofu, Igalamela / Odolu Idah and Ibaji Local Government Areas. He did not

like this situation. The importance of Attah Oguche Akpa in Igala history was that he

planned and executed the Igala rebellion of 1916-17. He did this from a distance as he

feared the conolinal officers. This rebellion is sometimes called the Mahionu was.

Attah Oguche Akpa organized the rebellion with the cooperation of Prince Atabo Ijomi,

(who later became the Attah Igala in 1919), Amanabo Ogili, (who later became the

Amanata during the reign of Obaje Ocheje), and the chief priest of mahionu spirit.

The result of the rebellion was the reunification of the Igala kingdom in 1918, and the

creation of Igala Native Authority later the same year. Attah Oguche Akpa was the first

Attah Igala to rule the Igala kingdom after the reunification. He appointed Prince Atabo

Ijomi as the first district head of Ugwulawo to reward him for his role during the Igala

rebellion of 1916-1917. He created district and gago areas in the kingdom. He died in

1919.

n. Attah Obaje Ocheje (1926-45) (The 19th Attah from Attah Ayegba)

Attah Obaje Ocheje ascended the throne of Attah Igala in 1926. During his reign, in

1929, the Igala native authority system was reorganized. This was the first

reorganization since its creation in 1918. The most important aspect of the

reorganization was the abolition of the office of the headman. The headman were the

alien or hausa district heads appointed by the colonial administration with the wrong

notion that hausa were better than the Igala traditional rulers. As a result of this

62

reorganization the services of these were terminated. Attah Obaje Ocheje was asked to

give back the office of district heads to the traditional rulers and he gladly did so.

In 1932 Attah Obaje Ocheje was asked to visit the northern provinces of Nigeria and

their headquarters in Kaduna. He visited Kaduna, Zaria, Kano, Katsina. The aim of this

invitation was to introduce him to the latest administrative and educational

developments in northern Nigeria. He was the first Attah Igala to carry out such

extensive tours. During his reign some roads became negotiable by car and he was the

first Attah to own a car. He toured Igalaland to meet his people.

By the end of his reign the Second World War had started, and the subsequent

economic depression affected Igalaland. It was during his reign that the European

Christian missionaries entered Igalaland. He gave them all the necessary cooperation

and asked his chiefs to do the same but he warned them not to cause division amongst

his people. He died in 1945.

o. Attah Ameh Oboni 1946-1956 (The 20th Attah Igala from Attah Ayegba)

Attah Ameh Oboni was installed as the Attah Igala in 1946. He came to the throne at

the end of the second world war and the resultant economic boom affected the Igala

kingdom.

He continued the work of his predecessors in mobilizing his district and village heads

for road construction. Although, Attah Ameh had only little formal education. He

expanded the Igala Native Authority Schools. He encouraged them to established

primary schools in his kingdom. He also expanded the Igala native Authority

dispensaries to all districts headquarters.

63

Despite Attah Ameh’s popularity among the masses his rule ran into several crises and

these rises led to his deposition. Firstly, the government of northern Nigeria ordered

that the Igala Native Authority be reorganized in 1843. This was during the reign of

Attah Obaje Ocheje. It was recommended that the offices of districts heads and

supervisory councilors be put on a professional basis. The recommendation was

approved by the governor. But the recommendations could not be implemented because

Attah Obaje Ocheje was ill. As soon as Attah Ameh Oboni took office he was asked to

implement the recommendations. He removed from offices all the royal councilors who

were supervisory councilors under the native authority. He also removed all illiterate

district heads from offices. He then replaced all of them with literate Igala native

authority staff.

This was the beginning of Attah Ameh’s problems. The deposed royal councilors and

district heads combined against him. They said that it was Attah Ameh who deposed

them and not the government. Secondly, in 1956, allegations of human sacrifices were

made against Attah Ameh but after police investigations in April 1955, the accusations

were found to be untrue.

Thirdly in 1954, the northern Nigerian house of assembly passed a law to reorganize all

the native authority system in the north. This law introduced democratically elected

councils (wokilis) into the native authority system. Attah Ameh was first Attah to work

with the democratically elected councilors (wokilis) in 1954. But unfortunately the

Attah could not adjust to the power shift or power sharing with the elected councilors

and he quarreled with them most of the time.

Fourthly, in 1956, the Egwu and Ocho national festivals at Idah were abolished by the

government on the recommendations of the Igala native authority council. The earlier

64

allegations that Attah Ameh made human sacrifices at these festivals contributed to the

abolition of these festivals. He was deposed in 1856 because the councilors gave him

vote of no confidence.

p. Attah Aliyu Ocheje Obaje (1956 to date) (The 21st Attah Igala from Attah

Ayegba) Attah Aliyu Ocheje Obaje attended Idah government school, Dekina

Elementary School and Okene Middle School. He also attended teachers college at

Ibadan and the clerical training college, zaria.

On 2nd November 1956, he was installed the Attah of Igala. Thus he became the first

literate Attah Igala. He is also the first Attah Igala to become a moslem. He is the first

Attah Igala to reign for fifty years (1956-2006). His long reign has witnessed

unparalled developments in his kingdom. This book, which is published to

commemorate the celebration of the Golden Jubilee of his reign as the Attah Igala,

documents the social, religious, economic and educational development of Igalaland

during his reign.

2.4.4 THE IGALA CULTURE

One significant part of the Igala culture is the importance attached to masquerades.

Masquerades play important roles in the traditional African setting. The Igala culture

can not be discussed without emphases on their beliefs in the use of masquerades,

which, like other African masquerades, serve as a link between the living and their dead

relatives.

2.4.5 THE IGALA MASQUERADE

Plate 2.1:A typical Igala masquerade

Source: Tripple heritage 2010

Masquerades are believed to be a representation of the dead. It is believed that the dead

visits the living from time to time through this medium. It is on this premise that the

African traditional society was built upon and this has

society to large extent in African societies and among the Igala speaking people of

Kogi State of Nigeria.

There are different types of masquerades from society to society and from places to

places. Among the different et

different times. Among the Igala speaking people of Kogi State, the use of masquerade

has been as old as the history of the people.The masquerades have their various names

and are used for specific

arbitration court to mention a few.

65

.5 THE IGALA MASQUERADE

Igala masquerade

Tripple heritage 2010



African traditional society was built upon and this has helped a lot in safeguarding the



places. Among the different ethnic tribes, they are being used for different purposes at



occasions. They stem from entertainment, policing and an

arbitration court to mention a few.



helped a lot in safeguarding the



hnic tribes, they are being used for different purposes at



occasions. They stem from entertainment, policing and an

66

Among the masquerades of Igala, mention must be made of some names like Abule,

Ukpoku, Olagenyi, Adaka, Owuna, Ogbanaku and Apaleche. Some of these

masquerades mentioned have their specific functions. Some of them are being used as

guards while some of them are for entertainment. The history of masquerades in Igala

land will not be complete without mentioning those of the Attah Igala Courts. Some of

those in the Attah’s Court include Agbanabo, Ichawulla Ape, and Ekwe being the head

of the royal masquerades.At this juncture, mention must be made of the various roles

played by them in the Igala society or tradition.Some of these masquerades are being

used during traditional funerals as a means of linkage between the dead and the living.

In most cases, this group of masquerades is used: Owuna, Ogbanaku, Adaka, Olowu to

mention a few. It is believed that these masquerades will convey the messages of the

living to the dead that the living wishes the dead peace where it may be.In some cases

where these rites are not performed, it is believed that the dead will not have a place to

stay. The dead spirit will therefore be hurting the living.If this is done, it will bring

peace between the living and the dead. This brings the much needed unity amongst the

kinsmen. It is therefore a rallying point to transition to great beyond.

Some of these masquerades are used to police their farms. Some of these masquerades

include Abule, Ukpoku. These masquerades are the talking types. They are placed in

strategic places on the farm.Anyone who has come to steal from such a farm will hear a

voice and this will prevent him from taking anything from the farm in those days and

until now in villages in Igala land, this has helped in preventing theft of farm produce

and generally in town because they patrol in the night as well.

67

Masquerades serve to checkmate delinquency among married women in Igalaland. This

has in no small measure helped to curb promiscuity in the society. It is believed that

any attempt by any woman will be brought to limelight by the talking masquerade such

as Abule, Olowu and such a woman would be fined and asked to undertake some ritual

rites before she could be admitted back. This has in no small measure helped to purify

or purge the society.

Masquerades have also brought relative peace to many homes with polygamy. They

have also helped to settle scores among concubines. In homes where there are frequent

quarrels, the family masquerade will intervene to settle such where it persists. The

masquerade will fine the women concerned first, and fined the guilty again.

All the other masquerades are subject to the royal masquerade. The royal masquerades

are within the Attah’s Court.Ekwe is regarded as the head of the royal masquerades and

in most cases serve as the final arbitrator in some disputes that are beyond human

comprehension. It is regarded as the final court in any disputes in Igalaland. This has

therefore helped in bringing peace among the people.

However, of recent Christianity and Islam has brought some little changes. It is

therefore necessary to differentiate between religion and culture so as not to have any

infringement on the culture of the people.This is because of the immense contribution

masquerades have made to the development of our various communities in Africa,

amongst the so many ethnic groups in Nigeria and the Igala people of Kogi State in

particular.

68

2.4.6 THE IGALA INDIGENOUS ARCHITECTURE

The Igalas of the Middle Belt, have three traditional expressions of builtform similar to

that of the Tivs.: a reception-hut (atakpa), a sleeping hut and a grain-storage facility.

Covert symbolism, however, attaches only to the disposition of the atakpaand is

inherent in its ability to portray the genealogical set-up within a compound (as distinct

from its roles as daytime lounge, reception, workspace and overnight guest quarters,

among others). The atakpainvariably adjoins the sleeping hut of a compound head.

Where only one is visible, it attests to the sociological structure being simple, and the

family itself, relatively young and limited in size. However, in an older, more complex

family set-up, a dumb-bell arrangement (featuring two sleeping huts linked by an

atakpa) testifies to maternal brothers having the space in common i.e. the disposition of

multiple atakpassignifies the presence of siblings from different mothers, and an

enduring polygamous set-up.

The atakpaof the traditional Igala homestead (like the Hausa zaure and Tivate), to all

intents and purposes, is a multi-purpose space. It is the first port of call in the compound,

and is the particular haunt of the enegbani(the compound head), who receives callers, and

executes whatever his home-based craft, there.

The Igala traditional building materials include red earth, thatch grass, bamboo stems, palm

fronds, and are readily available(Osasona, 2002b, 126).See Plate 2.2 and Fig. 2.18 below.

69

Plate 2.2: Photo ofthe traditional Igala atakpa

Source: Author’s field study

Fig 2.18: Traditional Igala homestead

Source: Author’s sketch

70

2.5 THEORETICAL FRAMEWORK

2.5.1 ARCHITECTURE AS A SYMBOL OF IDENTITY

There are two reasons, one general, and the other specific, for raising the question of

symbols and signs. The general reason is that the act of symbolization and cultural or

personal attachment to whatever we call "symbols" are recognized modes of behaving,

feeling, thinking, associating and understanding (Grabar, 1979).

The relationship between form and symbolic content, especially in architecture, is not

likely to be interpreted in the same way by every individual. The derivation of symbolic

value from any architectural form is a theoretical problem.

Any symbolic value inherent in a house form comes from its long use, from its

becoming a paradigm of some experience or quality of life. When this form, whose

value is so overtly experiential, does not fulfill the exigencies of changed

circumstances, it is difficult to interfere with the demands of its owners that it be

changed. Historical analysis also makes clear that different cultures have differing

attitudes toward conferring symbolic value upon a given form (Kuban, 1979).

No matter what aspect of symbolism we consider, we must take its actual usage into

account. There is no stronger clue to the value of a symbolic form than its perception

and acceptance by the community at large. To underline this fact is a matter of practical

necessity. The old relationships between form and sign or symbol concern us in the

degree to which they illuminate contemporary perceptions; symbols cannot exist

without perceivers. The symbolism of surviving elements of the traditional environment

exists on several levels. The great monuments have become symbols by dint of value

71

judgments accumulated over many generations. The built environment in its totality is

also symbolic of a certain way of life. But these symbols act in different ways (Kuban,

1979).

Culture is the activity, or manifestation of the mind, it is synonymous to life, so the

morecultured we are, the more culture will be our manifestation of life. It could be in

the form of literature, art or philosophy. It is a personal expression of the mind. So

when you say a person is cultured, or a group of people has this culture, they would

share a kind of common attitude and display it consciously or unconsciously

(Kamal, 1983).

To illustrate a combination of design, which would make up unity, we must take factors

that comprise the essence, or deeper structure, of unity - for instance balance. Jot these

factors down from one to ten and taking the analogy of numbers pick a combination of

numbers and you have a quantity In the same way, the elements or the essence of unity:

balance, harmony, culture, and design combine together to give a solution - an identity,

and just as there are lots of combinations of numbers there could be variety within

identity Then, this unity framework should have a set of rules: that there should be no

suppression, there should be tolerance. There should be balance in the total system,

like, when the rain comes down in the river it would not be flooded, it would just go to

the sea.

This is the balance of nature. So when we have established all these, balance and unity,

knowledge, culture, all within this framework then given the threat of the economic

72

revolution or the space age or whatever it is, we could relate to and design within that

framework (Kamal, 1983).

The simple reproduction of traditional forms in the buildings of today has a make-

believe theatrical air about it. The reproduction of traditional architecture when applied

to houses or to small buildings is more successful, but when applied to large modern

buildings, rings hollow. The faith that was promoted through modern architecture that

truth to functionalism will produce lasting values is too simplistic. Modern architecture

evolved as a denial of tradition, it started as a revolutionary movement to anticipate the

arrival of a new society, founded on rationality and science. It has produced some fine

buildings but the majority have been bland. So there is a growing dissatisfaction with

simple functionalism in modern architecture, together with worldwide trends in the

search of roots to look for a new architecture. Instead of looking deeper, the

dissatisfaction with modern architecture is expressed in two distinctly different

directions today; one alludes cynically to historical precedent, whilst the other strives

for more extreme technological feats (Soon, 1983).

2.5.2 SEMIOLOGY

The importance of signs and signification has been recognized throughout much of the

history of philosophy, and in psychology as well. Plato and Aristotle both explored the

relationship between signs and the world, and Augustine considered the nature of the

sign within a conventional system. These theories have had a lasting effect in Western

philosophy, especially through Scholastic philosophy. More recently, Umberto Eco, in

his Semiotics and philosophy of language, has argued that semiotic theories are implicit

in the work of most, perhaps all, major thinkers.

73

Semiotics, also called semiotic studies or semiology, is the study of cultural sign

processes (semiosis), analogy, metaphor, signification and communication, signs and

symbols. Semiotics is closely related to the field of linguistics, which in its part, studies

the structure and meaning of language more specifically. Semiotics is usually divided

into three branches, which include:

• Semantics: Relation between signs and the things to which they refer; their

denotata, or meaning.

• Syntactics: Relations among signs in formal structures.

• Pragmatics: Relation between signs and the effects they have on the people who use

them.

Semiotics is frequently seen as having important anthropological dimensions; for

example, Umberto Eco proposes that every cultural phenomenon can be studied as

communication. However, some semioticians focus on the logical dimensions of

thescience. They examine areas belonging also to the natural sciences – such as how

organisms make predictions about, and adapt to, their semiotic niche in the world. In

general, semiotic theories take signs or sign systems as their object of study: the

communication of information in living organisms is covered in biosemiotics or

zoosemiosis (Wikipedia 2010).

CURRENT APPLICATIONS

Applications of semiotics include:

• It represents a methodology for the analysis of texts regardless of modality. For these

purposes, "text" is any message preserved in a form whose existence is independent of

both sender and receiver;

74

• It can improve ergonomic design in situations where it is important to ensure that

human beings can interact more effectively with their environments, whether it is on a

large scale, as in architecture, or on a small scale, such as the configuration of

instrumentation for human use (Wikipedia 2010).

2.5.3 AFROCENTRIC ARCHITECTURE

A prominent issue in Architectural Theory has been the concerned with

“Westernization” and the trend of American and European architects to build in places

where they do not understand the culture.

The westernization of Africa, however, is not a topic heavily discussed in realm of

architectural theory. This is partly due to the lack of major projects on the continent, but

it is also due to the history of abuse and the imposing of ideals from Western Europe

and Arab countries. Africa was a place that needed “fixed”, in our minds, and architects

did not feel the need to understand a “subordinate” culture. While this has changed to

some extent today, the Western gaze on Africa is still viewed through a distorted lens.

Afrocentric architecture is a distinct manifestation of form, imagery and space in the

modern environment which derives from the historic environmental and cultural

originsof the continent of Africa. Afrocentric Architecture is a theory, based on

semiotics, historic precedent and the environmental conditions of Africa which impact

on the form, imagery, and spatial manipulation of architectural elements in a unique

and distinctive manifestation of modem contemporary design.

75

Afrocentric architecture utilizes observed empirical data based on three principal areas

of the built environment. Historic precedent/ including ancient civilizations and

monuments; cultural elements, including customs, ceremonies and living patterns as

well as representational physical artifacts; and environmental ecological elements,

including climate, geologic conditions and physical features (Hughes, 1993).

ETHNOGRAPHIC/CULTURAL PRECEDENTS

Afrocentric architecture is a broad referential category with its central ethnographic

base being the entire continent of Africa, but having inexhaustible subdivisions based

on distinct locations (West Africa, the Sahel or Senegal), or distinct ethnic/cultural

groupings (Arabs, Bantu, Masai, Nubians), or societal structure (rural, urban, tribal,

kingdom), or religious association (Islamic, Christian, Coptic).

In the broadest application, Afrocentricity in architecture uses many (otherwise

unrelated) elements, simply on the basis of the common continental (geographic)

association. While this may prove confusing or disturbing to some it affords the

opportunity for the widest dialogue that will enhance and advance the study in this area

(Hughes, 1993).

SEMIOLOGY AND MULTI-DIMENSIONAL PERCEPTION

Afrocentrism in architecture incorporates semiology - the study of cultural symbols -as

an analytical evaluative foundation for conclusions drawn in the theory. However, in

order to fully address the African essence of architecture' one must look beyond

cultural symbols into multi-dimensional perceptions of life and customs. Music,

spirituality, genealogy, environment, and natural landscape, must all be intertwined as a

premise forassessing African architectural elements and design (Hughes, 1993).

76

Fig 2.19:Theoretical Design -Abstraction of African Game Board (Uganda) for high

risebuilding in context, by Kent State University Third Year Architecture student,

December1992.

Source: Hughes (1993)

CULTURAL ELEMENTS OF AFROCENTRISM

CRAFTS

Crafts are a major component of any society and its cultural contribution and advance

Most crafts evolve from handiwork designed for purposeful use even survival. As

cultures advance craftsmanship surrenders some of its product development to

automation. This allows for high levels of productivity but brings into question the

level of creativity or emotional attachment to work. Thus, today we cherish crafts

produced by hand and the cultures still committed to this old method. The use-or

application of crafts as art or ornament leads us to look elements originating from a

society's craft as possible elements of architectural import particularly in façade

development and interior ornamentation. Manifestation of African craft architectural

form or image advances the concept of a distinct African ethnographic/cultural identity

77

of the resulting architecture. In this regard Afrocentric architecture can assume its place

in the lexicon of architectural concept, theory and reality given clear manifestation of

African craft-image or form integrated modern architecture and its uses.

FAMILY

The nucleus of a society and its culture is the family. While Western society is based on

nuclear family that shapes individualistic acquisition and possession, African society

embraces a pluralist family that shapes a communal culture of joint acquisition and

shared possession.

This family/societal base also shapes the basic perception of space, its use and design in

society. Distinct attributes include the 'outside/inside' relationship of the compound

dwelling area) and the unitary cell (private/functional space). Most activities are within

the communal (outside) space and are serviced by the secondary functional space. This

results in the cluster of units. Thus, traditional family origins can shape attitudes the

design and use of space and Africa has a distinct contribution to make in this arena

(Hughes, 1993).

CUSTOMS

Customs are the rules and methods a society utilizes to structure its day-to-day

activities and -leading to value systems and civil behavior. Some customs are mundane

and routine, directing only the basic needs of survival and impacted by monetary and

class standards.

Ceremonies usually have elaborate decorative features, some giving clear images

adaptable architectural form. Totems which represent genealogy and hierarchy could be

interpreted in a hi-rise image, as well as the more classic historic examples of stellae,

obelisks and other vertical elements (Hughes, 1993).

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MATERIALS AND SKILLS

Materials in construction impact architecture in various ways, form, scale, image,

durability, comfort and economy. While most materials are available in Africa as in

most regions of the some take on dominant use because of their abundance, unique

quality and characteristics. Materials, are best utilized when matched with skills and

talents developed through ages of application. Thatch used in roofing takes on a

distinct, style and quality in the hands of African craftsmen unmatched anywhere, its

use can be a representative feature of Afrocentric architecture (Hughes, 1993).

ENVIRONMENT

Africa's vast landscape is renowned for its flora and fauna. The enormous range of

ecology from desert to rain forest, savannah to mountain ranges, broad plains to

wetlandsis astounding. All architecture is a modification of the environment and

landscape. In this regard, any structure implanted on African soil has a referential

African character. Even more salient is that architecture should adapt to and harmonize

with its landscape (Hughes, 1993).

PROPONENT OF AFROCENTRISM -FRACTALS

These elements; rhythm, repetition, improvisation, and ensemble, are all key elements

found in fractals. By definition, fractals are a fragmented geometric shape that can be

subdivided or expanded into parts, each of which is relating to the whole. They start

with a seed shape, or a shape that begins the recursion process where the end result of

each stage is brought back as the starting point for the next stage. This explanation is

slightly deceiving, however, because it suggests a linear scaling rather than a dynamic

structure.

True fractals are based on a rule system that is the structure for the repetition and

scaling of the fractal. The same fractal can produce an infinite number of results

depending on the rule system applied to it.

Fractals have been a huge part of African design for thousands of years, and have had a

wide influence in the West. In fact, it was Gottfriend Leibniz who explored the base

counting system of the Yaka diviners in Africa that gave way to the binary code.

Binary code is what made the invention of the computer possible, and it is now applied

to every digital circuit in every computer chip (Finch

EXAMPLE OF A FRACTAL

Fig 2.20 and Fig 2.21 show images of fractals.

Fig 2.20:Ba-lla Settlement

Source: (Finch 2008)

79



depending on the rule system applied to it.

a huge part of African design for thousands of years, and have had a

wide influence in the West. In fact, it was Gottfriend Leibniz who explored the base


at made the invention of the computer possible, and it is now applied

to every digital circuit in every computer chip (Finch, 2008).

EXAMPLE OF A FRACTAL

show images of fractals.



a huge part of African design for thousands of years, and have had a

wide influence in the West. In fact, it was Gottfriend Leibniz who explored the base-2


at made the invention of the computer possible, and it is now applied

Fig 2.21:Ba-lla Settlement Pattern with Seed shape.

Source: (Finch 2008)

2.5.4 SACRED GEOMETRY

Sacred geometry involves sacred universal patterns used in the design of everything in

our reality, most often seen in sacred architecture and sacred art. The bas

geometry and mathematical ratios, harmonics and proportion are also found in music,

light, and cosmology. This value system is seen as widespread even in prehistory, a

cultural universal of the human condition. It is considered foundation

sacred structures such as temples, mosques, megaliths, monuments and churches;

sacred spaces such as altars, temenoi and tabernacles; meeting places such as sacred

groves, village greens and holy wells and the creation of religious art, icon

using "divine" proportions. Alternatively, sacred geometry based arts may be

ephemeral, such asvisualization, sandpainting and medicine wheels.

Sacred geometry may be understood as a worldview of pattern recognition, a complex

system of religious symbols and structures involving space, time and form. According

80

lla Settlement Pattern with Seed shape.

.4 SACRED GEOMETRY


our reality, most often seen in sacred architecture and sacred art. The basic belief is that



cultural universal of the human condition. It is considered foundational to building



groves, village greens and holy wells and the creation of religious art, icon


ephemeral, such asvisualization, sandpainting and medicine wheels.


ous symbols and structures involving space, time and form. According


ic belief is that



al to building



groves, village greens and holy wells and the creation of religious art, iconography and



ous symbols and structures involving space, time and form. According

81

to this view the basic patterns of existence are perceived as sacred. By connecting with

these, a believer contemplates the Great Mysteries, and the Great Design. By studying

the nature of these patterns, forms and relationships and their connections, insight may

be gained into the mysteries the laws and lore of the Universe.

Our reality is a geometric consciousness hologram. It is a virtual experiment in linear

time to experience, journal, film, and record emotions. The term "sacred geometry"

isoften used by archaeologists, anthropologists, geometricians, and metaphysicians to

encompass the religious, philosophical, and spiritual beliefs that have sprung up around

this geometry in various cultures during the course of the human biogenetic experiment

(Crystalinks 2008).

SACRED GEOMETRICAL FORMS

Fig 2.22 – Fig 2.23 show different Sacred Geometrical forms.

Fig 2.22:Flower of Life

Source: Crystalinks (2008)

Fig 2.23:All Seeing Eye: Isis, Iris, Pupil, Rods and Cones, Masonic Symbolism


Fig 2.24:Gordian knot


82

sis, Iris, Pupil, Rods and Cones, Masonic Symbolism



sis, Iris, Pupil, Rods and Cones, Masonic Symbolism

83

Fig 2.25:Metatron's Cube


Fig 2.26:Alchemy of Consciousness in Time.


84

Fig 2.27:Dogon Nommo.


NATURAL FORMS

Many forms observed in nature can be related to geometry (for sound reasons of

resource optimization). For example, the chambered nautilus grows at a constant rate

and so its shell forms a logarithmic spiral to accommodate that growth without

changing shape.

Also, honeybees construct hexagonal cells to hold their honey. These and other

correspondences are seen by believers in sacred geometry to be further proof of the

cosmic significance of geometric forms. But some scientists see such phenomena as the

logical outcome of natural principles (Crystalinks 2008).

Fig 2.28:Sea Shell.


85

CONTEMPORARY USAGE OF SACRED GEOMETRY

A contemporary usage of the term sacred geometry describes New Age and occult

assertions of a mathematical order to the intrinsic nature of the universe. Scientists see

the same geometric and mathematical patterns as arising directly from natural

principles. Some of the most prevalent traditional geometric forms ascribed to sacred

geometry include the sine wave, the sphere, the vesica piscis, the 5 platonic solids, the

torus (donut), the tesseract (4-dimensional cube), and the merkaba (2 oppositely

oriented and interpenetrating tetrahedrons), and the golden spiral. Some believers in

sacred geometry also see significance in crop circles and in ancient architecture, such as

the Great Pyramid of Giza and Stonehenge.

GOLDEN RATIO

The golden ratio, also known as the god ratio, golden proportion, golden mean, golden

section, golden number, divine proportion or sectio divina, is an irrational number,

approximately 1.618 033 988 749 894 848, that possesses many interesting properties.

Shapes proportioned according to the golden ratio have long been considered

aesthetically pleasing in Western cultures, and the golden ratio is still used frequently in

art and design, suggesting a natural balance between symmetry and asymmetry. The

ancient Pythagoreans, who defined numbers as expressions of ratios (and not as units as

is common today), believed that reality is numerical and that the golden ratio

expressedan underlying truth about existence.

Fig 2.29:Golden Spiral.


Fig 2.30:Layout of Pyramids at Giza plateau.


86


Layout of Pyramids at Giza plateau.

Crystalinks (2008)

87

2.5.5 ICONOGRAPHY

Iconographical representation was used as a form of defining a cultural identity and can

be traced to the beginnings of civilizations. The term iconography has often referred to

the painting or sculpture of religious icons, where the icons were seen as the

embodiment of the religious figures they represented. The roots of iconography, as

evident in the sites of mourning and religious rituals as well as ancient economic and

political centers, helped create distinct cultural identities. The secularization of

intellectual labor and the shift from a religion-centered focus in philosophy, politics and

sciences opened up the study of icons to incorporate an infinite variety of visual forms

that were beginning to define cultural life in civilizations around the globe (Romaniuk,

2010).

Our definition of iconography, in a modern sense, begins with a shift from simply

defining a visual experience as a passive observation to understanding it in a more

scientific manner. This shift begins with the manipulation of images through the use of

camera obscura during the times of Leonardo da Vinci. This optical device consisted of

a darkened room with a small hole through which a pencil of light passed to form on

the opposite wall an inverted image of whatever lay outside. In the seventeenth

andeighteenth centuries, a portable version of camera obscura was used by painters to

compose and draw landscape, thus, allowing them to manipulate the imagery to their

liking. This illusory sense of commanding nature, by setting a specific moment of

reality aside for study and appraisal dictated a new sense of understanding a living

environment as a staged setting, rather than an accidental happening.

88

Used to evoke feelings and moods, to describe environments and to manipulate

viewpoints, the form, motif, image and its underlying symbol all come to overlap to

construct a multi-dimensional model of interpretation that moves a viewer from

preiconographical description of an object or place, to iconographical interpretation, to

its attached symbolic values. The significant difference of opinions and responses lies

in the relation of an object/sign to others in a denotative system. This creates a notion of

multistability where we see the coexistence of contrary or simply different readings in a

single icon (Romaniuk, 2010).

ICONIC BUILDING INTERVIEW

Excerpts from an Interview with Architect Charles Jencks by Paul Comstock

April 3rd, 2007 at 8:02 pm

CHARLES JENCKS

Charles Jencks is the author of several books on art and architecture. In 2004 he won

the Gulbenkian Prize for Museums with his design for Landform Ueda. His most recent

book is The Iconic Building.

INTERVIEW

What is an “iconic building?” What, in your opinion, are the best examples of the

genre?

The iconic building shares certain aspects both with an iconic object, such as a

Byzantine painting of Jesus, and the philosophical definition of an icon, that is, a sign

with some factor in common with the thing it represents. On the one hand, to become

iconic abuilding must provide a new and condensed image, be high in figural shape or

gestalt, and stand out from the city. On the other hand, to become powerful it must be

reminiscent in some ways of unlikely but important metaphors and be a symbol fit to be

worshipped, a hard task in a secular society. Best examples? The first post-war icon

was the little church at Ronchamp by Le Corbusier. This building set the standard for

all subsequent work in the genre. Other recent ones I could mention include Daniel

Libeskind (Imperial War Museum, North Manchester; Jewish Museum, Berlin),

Norman Foster (Swiss Re headquarters, London, Walt Disney Con

Angeles, see Plate2.3 and Plate 2.4

Plate 2.3:Walt Disney Concert Hall, Los Angeles

Source: Iconic Building (2007)

Do you read anything into these buildings in terms of where we are as a society?

Could their narcissism be a sign of a culture in decline?

Narcissism?Culture in decline? It’s the whole world. Venice was narcissistic, full of

iconic buildings, and declined for 500 years, but was still the most pleasant city to live

infor much of this time. It’s important to realize the nuanced situation of today and see

that opposite forces are producing the iconic building (decline of religion, rise of

consumerism) plus a strange historical juncture of freedoms, creativity, the computer

(as well as a collapse among the young of any commitment to traditions).

Is it possible that what attracts us to these buildings is they’re unlike anything

seenbefore? That once they

different” isall there was too many of them.

89



ind (Imperial War Museum, North Manchester; Jewish Museum, Berlin),

Norman Foster (Swiss Re headquarters, London, Walt Disney Concert Hall, Los

Angeles, see Plate2.3 and Plate 2.4).

Walt Disney Concert Hall, Los Angeles

(2007)


Could their narcissism be a sign of a culture in decline?


clined for 500 years, but was still the most pleasant city to live



lus a strange historical juncture of freedoms, creativity, the computer

(as well as a collapse among the young of any commitment to traditions).


seenbefore? That once they begin to be duplicated, we’ll find that “new and

different” isall there was too many of them.



ind (Imperial War Museum, North Manchester; Jewish Museum, Berlin),

cert Hall, Los



clined for 500 years, but was still the most pleasant city to live



lus a strange historical juncture of freedoms, creativity, the computer


begin to be duplicated, we’ll find that “new and

Yes. Being almost unlike anything before is important; yes that may be all there is in

the majority of cases (which are a failure). But that’s why I have been at

why the good ones are different. They have many meanings (unlike the one

relate to their place, function and history; their meanings also call on a hidden cosmic

code ofnature: that is, they are creative in a deeper sense.

Plate 2.4:Swiss Re headquarters, London


90


the majority of cases (which are a failure). But that’s why I have been at pains to show

why the good ones are different. They have many meanings (unlike the one


code ofnature: that is, they are creative in a deeper sense.

Swiss Re headquarters, London



pains to show

why the good ones are different. They have many meanings (unlike the one-liner) that


91

CHAPTER THREE

3.0 CASE STUDIES

A study of symbolic monuments was carried out. The essence of such study is to know

the extent reached (appraisal) in the existing similar cases found locally and

internationally so to understand the functions they can host and the relationship

between the spaces provided.

For the success of this research, study of a good number of symbolic monuments is

necessary to enable the researcher critically analyse their relevance and concept which

may guide in a way to develop my own concept and facilities to be provided in the

design of the palace of the Attah of Igala. The essence is to find out how these spaces

perform their function and with what degree of success. This will help in citing and

locating functions properly in the design that will result at the end of this study. Any

design choices made which proved productive will be utilized maximally while the

choices that were not so fruitful will also be studied to find out why they failed and

deduce how to avoid such errors.

3.1 CASE 1: A STUDY OF THE IDENTITY OF FRANCE: THE EIFFEL

TOWER, PARIS

The Eiffel Tower, Paris, (nickname La dame de fer, “the iron lady”) is an 1889

ironlattice tower located on the Champ de Mars in Paris that has become both a global

icon of France and one of the most recognizable structures in the world (Plate 3.1). It is

the most-visited paid monument in the world.More than two hundred million people

have visited the tower since its construction in 1889, including 6,719,200 in 2006

(Number of visitors since 1889" , 2010)

Plate 3.1: The Eiffel Tower, Paris

Source: Microsoft Encarta Premium 2009

Client: The French Government

Location: Avenue Gustave Eiffel

Designer: Gustave Eiffel

Period of Completion: Two (2) years, (1887 to 1889)

Building Type: Exposition Observation and Radio Broadcasting Tower.

Height: 312 m (1,024 ft).

THE IDEA

Named for its designer, engineer

arch to the 1889 “Exposition Universelle

celebration of the French Revolution

ÉmileNouguier and Maurice Koechlin and architect Stephen Sauvestre.

92

The Eiffel Tower, Paris

Source: Microsoft Encarta Premium 2009

The French Government

Location: Avenue Gustave Eiffel, Paris, France.

Period of Completion: Two (2) years, (1887 to 1889)

g Type: Exposition Observation and Radio Broadcasting Tower.

Named for its designer, engineer Gustave Eiffel, the tower was built as the entra

Exposition Universelle”, a World's Fair marking the centennial

French Revolution.Eiffel was assisted in the design by engineers

ÉmileNouguier and Maurice Koechlin and architect Stephen Sauvestre.

, the tower was built as the entrance

g the centennial

.Eiffel was assisted in the design by engineers

93

BACKGROUND INFORMATION

Eiffel had a permit for the tower to stand for twenty years; it was to be dismantled in

1909. The City had planned to tear it down but as the tower proved valuable for

communication purposes, it was allowed to remain after the expiry of the permit. The

military used it to dispatch Parisian taxis to the front line during the First Battle of the

Marne.

The Eiffel Tower played host to Paris' Millennium Celebration in 1999. On this

occasion, flashing lights and four high-power searchlights were installed on the tower,

and fireworks were set off all over it. An exhibition above a cafeteria on the first floor

commemorates this event. Since then, the light show has become a nightly event. The

searchlights on top of the tower make it a beacon in Paris' night sky, and the twenty

thousand flash bulbs give the tower a sparkly appearance every hour on the hour.

Gustave Eiffel engraved on the tower seventy-two names of French scientists,

engineers and other notable people. This engraving was painted over at the beginning

of the twentieth century but restored in 1986–1987 by the Société Nouvelle

d'exploitation de la Tour Eiffel, a company contracted to operate business related to the

Tower.

DESCRIPTION

The lower section of the tower consists of four immense arched legs set on masonry

piers (plate 3.2). The legs curve inward until they unite in a single tapered tower. There

are three main platforms, each with an observation deck. The first deck is 57m (187ft)

high, while the second is 116m (381ft) off the ground. Both are accessible by stairs or

elevator. The third deck, which is 276m (906 ft) high, is accessible to visitors only by

elevator. Restaurants with panoramic views are located on the first and second decks.

The tower has two restaurants:

level; and the Jules Verne, an expensive

with a private lift(Fawcett, 2010)

Installed near the top of the tower area weather station, a radio transmitting station, and

Plate 3.2: The tower in perspective

www.wikipedia.org

CONSTRUCTION

The tower constructed of about seven thousand, three hundred (7,300) metric tons of

iron, includes more than eighteen thousand (18,000) pieces held together by 2.5 million

rivets (Fig 3.1). Its open framework design allows it

94

The tower has two restaurants: Altitude 95, on the first floor 311 ft (95 m) above

, an expensive gastronomical restaurant on the second floor,

(Fawcett, 2010).

top of the tower area weather station, a radio transmitting station, and

a television transmitting antenna.

Also located near the top of the

tower are a suite of rooms originally

used by Eiffel as laboratories for his

scientific experiments. The

laboratories were moved elsewhere

in Paris in 1921, and the rooms now

house reconstructions of Eiffel’s

office and the offices of the tower’s

engineers.

.2: The tower in perspective

constructed of about seven thousand, three hundred (7,300) metric tons of


). Its open framework design allows it to withstand strong winds. The

ft (95 m) above sea

restaurant on the second floor,

top of the tower area weather station, a radio transmitting station, and

a television transmitting antenna.

Also located near the top of the

tower are a suite of rooms originally

used by Eiffel as laboratories for his

ments. The

laboratories were moved elsewhere

in Paris in 1921, and the rooms now

house reconstructions of Eiffel’s

office and the offices of the tower’s

Source:

constructed of about seven thousand, three hundred (7,300) metric tons of


to withstand strong winds. The

entire tower is repainted every five years

takes more than a year and requires about sixty metric tons of paint.

Fig 3.1: Isometric View of the Eiffel Tower Drawings

Source: www.wikipedia.org

THE DRAWINGS

Fig 3.2: The Plan of the Eiffel Tower, Paris

Source: www.greatbuildings.com

95

entire tower is repainted every five years—previously every seven years

takes more than a year and requires about sixty metric tons of paint.

: Isometric View of the Eiffel Tower Drawings

www.wikipedia.org

: The Plan of the Eiffel Tower, Paris

www.greatbuildings.com

previously every seven years—a job that

Fig 3.3: Elevation of the Eiffel Tower, Paris


Fig 3.4: Details of the Eiffel Tower, Paris


96

: Elevation of the Eiffel Tower, Paris


: Details of the Eiffel Tower, Paris


Fig 3.5: A view of The Tower from The Seine


Fig 3.6: A view of The Tower from The Seine


97

: A view of The Tower from The Seine


: A view of The Tower from The Seine


Plate 3.3: A view of The Tower from the street


APPRAISAL Essentially, the structure of the Eiffel Tower

Eiffel's spidery, wrought-

immense, tapering, curved, lattice

rise from an immensely broad square base

side-and are laced together at two levels by connecting girders to form an integral unity

of great stability. These qualities (simplicity and stability) make it unique and befittin

of an icon. Also, part of the original contest rules for designing the tower was that it

could be easily dismantled, a quality which is fulfilled.

98

: A view of The Tower from the street


sentially, the structure of the Eiffel Tower-which was a far-ranging extrapolation of

-iron bridge pylons—could not have been simpler: four

immense, tapering, curved, lattice-girder piers that meet asymptotically. These piers

from an immensely broad square base-one hundred and twenty-five meters on a

and are laced together at two levels by connecting girders to form an integral unity

of great stability. These qualities (simplicity and stability) make it unique and befittin


could be easily dismantled, a quality which is fulfilled.

ranging extrapolation of

could not have been simpler: four

girder piers that meet asymptotically. These piers

five meters on a

and are laced together at two levels by connecting girders to form an integral unity

of great stability. These qualities (simplicity and stability) make it unique and befitting


When work on the Eiffel Tower began, the project received enormous criticism,

notably a petition from 300 a

construction. No iron structure has been erected to such proportions before so it`s view

from the city was somewhat appalling and fearsome. From the moment the

Universelle opened in 1889, howeve

fair. Soon, it became a well

3.2 CASE 2: A STUDY OF SYMBOLISM IN SYDNEY OPERA HOUSE,

AUSTRALIATHE SYDNEY OPERA HOUSE, AUSTRALIA

The Sydney Opera House is an

its inception it has captured the imagination of people the world over and has become a

cultural symbol not only of the city in which it stands but of the Australian nation. It is

an outstanding human creation, an influential masterpiece of architecture that has

unified landscape and architecture in one monument

Plate3.4: The Sydney Opera House, Australia

Source: www.clarkvision.com

Client: State Government of New South Wales, Australia.

Location: Bennelong Point, East Circular Quay, Sydney, New South Wales,

99

Eiffel Tower began, the project received enormous criticism,

notably a petition from 300 artists, delivered in 1887, bitterly protesting its


from the city was somewhat appalling and fearsome. From the moment the

opened in 1889, however, the tower became the principal attraction of the

fair. Soon, it became a well-known landmark and a symbol of the city itself.

.2 CASE 2: A STUDY OF SYMBOLISM IN SYDNEY OPERA HOUSE,

THE SYDNEY OPERA HOUSE, AUSTRALIA

The Sydney Opera House is an extraordinary building set in a stunning harbour. Since



n creation, an influential masterpiece of architecture that has

unified landscape and architecture in one monument (Plate3.4).

: The Sydney Opera House, Australia

www.clarkvision.com

Government of New South Wales, Australia.


Eiffel Tower began, the project received enormous criticism,

rtists, delivered in 1887, bitterly protesting its


from the city was somewhat appalling and fearsome. From the moment the Exposition

r, the tower became the principal attraction of the

known landmark and a symbol of the city itself.

.2 CASE 2: A STUDY OF SYMBOLISM IN SYDNEY OPERA HOUSE,

extraordinary building set in a stunning harbour. Since



n creation, an influential masterpiece of architecture that has


100

Australia.

Architect: JørnUtzon (Denmark)

Contractors: Civil & Civic, Hornibrook Group

Engineers: Ove Arup & Partners

Period of Completion: Sixteen (16) years (1957–1973)

Cost: $102 million

THE IDEA

A major cultural centre for Sydney and its siting at Bennelong Point had been discussed

since the 1940s. Eugene Goossens, the British-born conductor of the Sydney Symphony

Orchestra, first proposed this site in 1948, a recommendation that was later accepted by

the New South Wales Premier, John Joseph Cahill. In 1956 the New South Wales

Government called an open-ended international design competition and appointed an

independent jury, rather than commissioning a local firm. The competition brief

provided broad specifications to attract the best design talent in the world. Open to all

architects from around the globe, it did not specify design parameters or set a cost limit.

The main requirement of the competition brief was a design for a dual function building

with two performance halls. The competition generated enormous interest in Australia

and overseas: nine hundred and thirty-three architects registered of whom two hundred

and thirty-three (mostly from overseas) submitted a design on a strictly anonymous

basis (Messent, 1997).

The New South Wales Government’s decision to commission Utzon as the sole

architect was unexpected, bold and visionary. There was scepticism as to whether the

structure could be built given Utzon’s limited experience, the rudimentary and unique

design concept and the absence of any engineering advice. The competition drawings

were largely diagrammatic, the design had not been fully cost

the jury had consulted a structural engineer

included unprecedented architectural forms and demanded solutions that required new

technologies and materials.

THE INSPIRATION

The inspiration for Utzon’s design came from Mayan monuments, Chinese temples and

Islamic mosques (Plate3.5).

Plate 3.5:Mayan Temple

Source: www.gettyimages.com

Just as the stone platform of

the podium of the Sydney Opera House invites patrons and visitors to escape the city to

a vantage point where they can explore the magnificent vistas and experience the

building. Utzon’s visits to the

inspired his design for the podium and the wide stairs leading up to it.

The Mayan platform gave a new, cosmic dimension to the terrace by placing the

Indians in touch with the sky and an expanded universe ab

101


were largely diagrammatic, the design had not been fully costed and neither Utzon nor

the jury had consulted a structural engineer (Murray, 2004).Utzon’s design concept


technologies and materials.


).

www.gettyimages.com

Just as the stone platform of Mayan temples allowed worshipers to escape the jungle,



building. Utzon’s visits to the Mayan ruins on the Yucatan Peninsula in Mexico

inspired his design for the podium and the wide stairs leading up to it.


Indians in touch with the sky and an expanded universe above the jungle… It was


ed and neither Utzon nor

.Utzon’s design concept



Mayan temples allowed worshipers to escape the jungle,



Mayan ruins on the Yucatan Peninsula in Mexico


ove the jungle… It was

102

Utzon’s conclusion that such stone jungle platforms were instruments for restoring the

lost horizon (Drew, 1999).

CONSTRUCTION OF THE SYDNEY OPERA HOUSE

The Sydney Opera House is often thought of as being constructed in three stages and

this is useful in understanding the history of the three key elements of its architectural

composition:

• The podium (stage one: 1958–1961)

• The vaulted shells (stage two: 1962–1967) and

• The glass walls and interiors (stage three: 1967–1973).

Architect JørnUtzon conceived the overall design and supervised the construction of the

podium and the vaulted shells. The glass walls and interiors were designed and their

construction supervised by architect Peter Hall supported by Lionel Todd and David

Littlemore in conjunction with the then New South Wales Government Architect, Ted

Farmer. Peter Hall was in conversation with Utzon on various aspects of the design for

at least eighteen months following his departure (Hall, 1967). Ove Arup & Partners

provided the engineering expertise for all three stages of construction, working with

building contractors Civil & Civic on stage one and the Hornibrook Group on stages

two and three.

Design and construction were closely intertwined and this was a distinctive feature of

the Sydney Opera House. Utzon’s unique design together with his radical approach to

the construction of the building fostered an exceptional collaborative and innovative

environment. His collaborative model marked a break from conventional architectural

practice at the time.

103

DESCRIPTION OF THE MONUMENT

The Sydney Opera House is a masterpiece of late modern architecture and an iconic

building of the 20th century. It is admired internationally and treasured by the people of

Australia. Created by an architect who had been an avid sailor and understood the sea,

it inhabits the world-famous maritime location on Sydney Harbour with such grace that

it appears that the building belongs there naturally. The massive concrete sculptural

shells that form the Sydney Opera House’s roof appear like billowing sails filled by the

sea winds with the sunlight and cloud shadows playing across their shining white

surfaces. As the architect envisaged, “it is like a Gothic cathedral that people will never

tire of and never be finished with” (Utzon, The Sydney Opera House, 1965).

The Sydney Opera House represents a rare and outstanding architectural achievement:

structural engineering that stretched the boundaries of the possible and sculptural

architectural forms that raise the human spirit. It not only represents the masterwork of

Utzon but also the exceptional collaborative achievements of engineers, building

contractors and other architects. The Sydney Opera House is unique as a great building

of the world that functions as a world-class performing arts centre, a great urban

sculpture and a public venue for community activities and tourism. This monumental

building has become a symbol of its city and the Australian nation. The Sydney Opera

House ‘is not a simple entity… (but) alive with citizens and urbanity’ (Domicelj, 2005).

LOCATION

The outstanding natural beauty of the setting of the Sydney Opera House is intrinsic to

its significance. It is situated at the tip of a prominent peninsula projecting into Sydney

Harbour (known as Bennelong Point) and within close proximity to the Royal Botanic

Gardens and the world famous Sydney Harbour Bridge (Fig 3.7)

Fig 3.7: Topographical Map of Sydney Harbour showing the site in red

Source: (Drew, 1995)

Utzon envisaged that entering the Sydney Opera House would be a journey or

transition, one that would intensify appreciation of the man

landscape. For those who climb the stairs rising from the forecourt to the vast podium,

the journey culminates on the top of a plateau where the audience meets the performers,

in the ancient tradition of a procession culminating in a festival. Alternatively, those

who enter via the covered lower concourse move upwards through the “austere, low

linear spaces of the stairway and booking hall under concrete beams of unusual span

and form” in a transition that resembles “passing from a low narthex or crypt to a grand

Gothic cathedral - light, airy and with a tall sculptural rib vault above”

104

Topographical Map of Sydney Harbour showing the site in red


transition, one that would intensify appreciation of the man-made performance

who climb the stairs rising from the forecourt to the vast podium,



ia the covered lower concourse move upwards through the “austere, low



light, airy and with a tall sculptural rib vault above” (Utzon, 2002)


made performance

who climb the stairs rising from the forecourt to the vast podium,



ia the covered lower concourse move upwards through the “austere, low-lit,



(Utzon, 2002).

105

The Sydney Opera House does not operate solely as a venue for opera, but as a multi-

purpose venue that hosts a wide range of performing arts and community activities.

These include classical and contemporary music, ballet, opera, drama and dance, events

for children, outdoor activities and functions of all kinds.

It is used as a venue by a wide range of organizations including performing arts

companies, commercial promoters, schools, community groups, corporations,

individuals and government agencies. Since its opening in 1973 over forty-five million

people have attended more than a hundred thousand performances and it is estimated

that well over a hundred million people have visited the site.

THE PERFORMANCE HALLS

“…nowhere had anyone dared a monumentality on the scale of the great platform and

tiled vaults soaring fifteen stories into the air” (Weston, 2002).The Sydney Opera

House has two main performance halls, the Concert Hall and the Opera Theatre. Utzon

likened the relationship between the performance spaces and the shells to the structure

of a walnut: “the walnut’s hard shell” protects the kernel’s “slightly wobbled form”

(Murphy, 2004). The original design conceived the halls as being largely constructed of

plywood and hanging independently within the vaulted shells so that their forms could

be adapted to create the best acoustical performance. During the final design and

construction of the halls after Utzon’s departure in 1966, plywood was used in only one

of the halls.

The Concert Hall is the largest performance space of the Sydney Opera House and

accommodates up to 2700 people. Fitted high on the southern wall behind the stage is

one of the largest mechanical-action pipe organs in the world (Murray, 2004). Birch

106

plywood, formed into radiating ribs on the suspended hollow raft ceiling, extends down

the walls to meet laminated brush-box linings that match the floor.

The podium with its concourses, steps and forecourt with its origins in the ancient

architectural idea of the raised platform, becomes in Sydney a continuation and

evocation of the local natural terrain, building as landscape, in a manner similar in

intention to that of other great Nordic architects, notably Asplund, Aalto and

Pietilä(Carter, 2005). The base of the Sydney Opera House rises up as a massive

monolith of reinforced concrete, a grand granite-clad podium. Its monumental scale

forms an artificial promontory that offers continuity with the harbour-side landscape.

The podium measures one hundred and eighty-three metres by ninety-five metres rising

to twenty-five metres above sea level and was the largest concrete form in the southern

hemisphere in the 1960s (Murray, 2004). The podium lends a ceremonial aspect to the

site and has been likened to a great stage or an altar of a majestic church.

PUBLIC AND BACK-OF-HOUSE INTERIORS

Peter Hall’s design for the interiors used different finishes to distinguish the various

spaces in the building. Utzon regarded the foyers as “outside” spaces, designed to be

seen clearly through the glass walls. In keeping with Utzon’s vision the foyer fabric

was designed with the same natural palette of textures and colours as the exterior. Off-

form concrete painted white was used for the internal podium walls. Other spaces that

were to be used heavily by patrons, visitors, artists and staff were finished in the same

white birch veneer as the Concert Hall.

The veneer, which was applied to ply panels moulded to a shallow “U” shape, was used

in various forms to conceal services, absorb sound and accommodate the changing

geometry in the building. The panels were used throughout the complex, most notably

in the Drama Theatre and the Playhouse and their foyers, the major corridor systems

and toilet facilities. The white birch veneer in its various forms brought

the performers’ and staff spaces within the podium

UTZON ROOM

The Utzon Room is a multi

music recitals, productions for children, lecture progr

Formerly the Reception Hall, the room was transformed in 2004 under Utzon’s design

guidance in association with his architect son, Jan Utzon, and Australian architect

Richard Johnson. It was the first project in the Sydney Op

after Utzon was re-engaged to work on the Sydney Opera House in 1999. The room

was renamed in the architect’s honour and presented as an authentic Utzon interior,

both in its structure and interior design.

Plate 3.6: The recently refurbished Utzon Room, 2004

Source: Sydney Opera House Trust, 2002

WESTERN LOGGIA

The creation of the western loggia is the first major structural work to the exterior of

the building since the opening of the Sydney Opera House. It comprises a colonn

107



and toilet facilities. The white birch veneer in its various forms brought visual unity to

the performers’ and staff spaces within the podium (Kerr, 2003).

The Utzon Room is a multi-purpose venue overlooking Farm Cove that is used for

music recitals, productions for children, lecture programs and functions



Richard Johnson. It was the first project in the Sydney Opera House’s upgrade program

engaged to work on the Sydney Opera House in 1999. The room


both in its structure and interior design.

ntly refurbished Utzon Room, 2004

Sydney Opera House Trust, 2002


the building since the opening of the Sydney Opera House. It comprises a colonn



visual unity to

purpose venue overlooking Farm Cove that is used for

ams and functions (Plate 3.6).



era House’s upgrade program

engaged to work on the Sydney Opera House in 1999. The room



the building since the opening of the Sydney Opera House. It comprises a colonnade

108

(forty-five metres long and five metres wide) opening into the western side of the

podium facing towards the Sydney Harbour Bridge. Nine openings have been created to

open up the foyers of the Drama Theatre, the Studio and the Playhouse to natural light

and to allow access to harbour and city views (Hale, 2005). New bar and food facilities

facing Sydney Harbour Bridge will create an impressive outdoor place for visitors to

enjoy the building in its harbour setting.

Utzon’s design for the western loggia was inspired by the colonnades found in Mayan

temples, which were one of the original design sources for the Sydney Opera House.

The western loggia also reinforces Utzon’s initial design by connecting the foyers of

the lower performance venues to the harbour setting, as is the case with the upper

performance venues (the Opera Theatre and the Concert Hall).

THE VAULTED ROOF SHELLS (“THE SHELLS”)

The audience and the performance itself, all taking place on top of the plateau, should

be covered with a ‘light’ sculptural roof, emphasizing the heavy mass of the plateau

below(Utzon, 2002).The vaulted roof shells with their glistening white tiled skin set

amidst the grand waterscape setting of Sydney Harbour are an exceptional architectural

element. They were originally conceived as “single-layer, rib-reinforced parabolic

shells” but they had to be refined during the design, engineering and construction

process. The eventual design solution turned the shells into “arched vaults” (Weston,

2002). The established usage continues to refer to them as “shells”.

The final shape of the shells was derived from the surface of a single imagined sphere,

some seventy-five metres in diameter. This geometry gives the building great

109

coherence as well as allowing its construction to benefit from the economies of

prefabrication.

Constructed ingeniously, each shell is composed of precast rib segments radiating from

a concrete pedestal and rising to a ridge beam. The ribs of the shells are covered with

chevron-shaped, precast concrete tile lids– the shallow dishes clad with ceramic tiles.

The main areas of the shells are covered in white glossy tiles with matt tiles edging

each segment. This creates a beautiful and ever-changing effect so that the building

shines without creating a mirror effect. The tiles change colour according to the light

and the perspective and can be anything from salmon pink, ochre, the palest of violets

and cream or ghostly white. The white glazed shells draw attention to their identity as a

freestanding sculpture.

The two main shell structures cover the two main performance venues, known as the

Concert Hall and Opera Theatre. The third set of shells that overlooks Sydney Cove

was designed specially to house a restaurant. Utzon wanted the walls to be expressed as

a hanging curtain, a kind of glass waterfall that swings out as it descends to form a

canopy over the lounge terraces and foyer entrances. Indeed, the north terraces are

really great verandas with a glass canopy cover overlooking the harbour (Drew, 1999).

The glass walls of the Sydney Opera House are a special feature of the building

(Plate 3.7).

Plate 3.7: The glass walls

Source: Sydney Opera House Trust.

They were constructed according to architect Peter Hall’s modified design. The open

end and sides of the shells are filled by hanging glass curtain walls. The topaz glazed

infill between the shells and the podium was built as a co

surface with facetted folds tied to a structure of steel mullions. A special feature is the

canting out of the lowest sheets, which allows views out without reflections.

The glass walls flood the building with sunlight and open it

city and harbour. Visitors often stand in the foyers under the shells mesmerized by the

towering glass walls and intrigued at how the walls are held upright.

110

dney Opera House Trust.



infill between the shells and the podium was built as a continuous laminated glass



The glass walls flood the building with sunlight and open it to the evening views of the


towering glass walls and intrigued at how the walls are held upright.



ntinuous laminated glass



to the evening views of the


THE DRAWINGS

Fig 3.8: Site plan

Source: Sydney Opera House Trust

Fig 3.9: Ground floor plan


111



Fig 3.10: First floor plan


112


Fig 3.11: Elevations


113


Fig 3.12: Elevations


114


Fig 3.13: Sections Source: Sydney Opera House Trust

115


Plate 3.8: Perspective at Night

Source:www.berkshirereview.net

Plate 3.9: Perspective at Daytime

Source: www.berkshirereview.net

116

: Perspective at Night


: Perspective at Daytime

Source: www.berkshirereview.net

Plate 3.10: Interior Perspective of one of the Concert Halls


APPRAISAL

The structure effectively carries out its major task of transforming

cultural metropolis”(Murray, 2004)

doing so it made use of prefabricated materials due to the high level of precision

required in its construction. This necessitated very specialized labour and equipment

which had to be imported, resulting in escalating costs. The Sydney Opera House took

sixteen years to build at an estimated cost of a hundred and two ($102) million. This

was six years longer than scheduled and ten times more than its original estimated cost

(Murray, 2004). Regardless of this, an Australian member of parliament praises it

the first and still unrivalled modern ‘blockbuster building’.

Australia an unrivalled and instantly recognisable emblem

relations building since the pyramids.

117

ior Perspective of one of the Concert Halls


The structure effectively carries out its major task of transforming “Sydney into a new

(Murray, 2004) and the “People’s Palace”(Weston, 2002)



be imported, resulting in escalating costs. The Sydney Opera House took



. Regardless of this, an Australian member of parliament praises it

the first and still unrivalled modern ‘blockbuster building’. It has given Sydney and

Australia an unrivalled and instantly recognisable emblem - the greatest public

relations building since the pyramids.

“Sydney into a new

(Weston, 2002). In



be imported, resulting in escalating costs. The Sydney Opera House took



. Regardless of this, an Australian member of parliament praises it “as

It has given Sydney and

greatest public-

3.3 CASE 3: A STUDY OF SYMBOLISM AND IDENTITY IN THE

GUGGENHEIM MUSEUM, NEW YORK

The Solomon R. Guggenheim Mu

both the museum's art colle

(Plate 3.11). American archi

completed in 1959. The spi

nated by means of a large sky

houses a large collection of ab

in the 1920s.

Plate 3.11: The Solomon Guggenheim Museum, New York


Client: Solomon R. Guggenheim.

Location: 1071 Fifth Avenue, Manhattan, New York.

Architect: Frank Lloyd Wright.

Period of completion: 3 years (1956 to 1959).

118

.3 CASE 3: A STUDY OF SYMBOLISM AND IDENTITY IN THE

GUGGENHEIM MUSEUM, NEW YORK

heim Museum in New York City attracts visitors in

both the museum's art collection and the unique architecture of the building its

chitect Frank Lloyd Wright designed the building, which was

ted in 1959. The spiraling structure on the right is a grand exhibition hall il

ted by means of a large skylight; a new section, left, was added in 1992. The mu

tion of abstract art, much of it collected by Guggenheim be

: The Solomon Guggenheim Museum, New York.


Client: Solomon R. Guggenheim.

Location: 1071 Fifth Avenue, Manhattan, New York.

Architect: Frank Lloyd Wright.

Period of completion: 3 years (1956 to 1959).

.3 CASE 3: A STUDY OF SYMBOLISM AND IDENTITY IN THE

tors interested in

ding itself

ding, which was

tion hall illumi-

tion, left, was added in 1992. The museum

heim beginning


The Solomon R. Guggenheim Museum

permanent home to a renowned collection of

Modern, and Contemporary art

year. It is one of the 20th century's most important architectural landmarks.

The museum opened on October 21, 1959, and was the second museum opened by the

Solomon R. Guggenheim Foundation

HillaRebay, Solomon Guggenheim

1929. Guggenheim first began to show his work from his apartment, and as the

collection grew, he established The Solomon R. Guggenheim Foundation in 1937.

Guggenheim and Rebay opened the foundation for the "promotion and encou

and education in art and the enlightenment of the public."

In 1939, the Foundation's first museum, "The Museum of Non

opened in rented quarters at 24 East Fifty

by early modernists.

Plate 3.12: An early drawing of the Guggenheim Museum, New York.Source:nyc-architecture.com

119


Solomon R. Guggenheim Museum (often referred to as "The Guggenheim") is the

permanent home to a renowned collection of Impressionist, Post-Impressionist

Contemporary art and also features special exhibitions throughout the

he 20th century's most important architectural landmarks.


Solomon R. Guggenheim Foundation.Guided by his art adviser, the German painter

Solomon Guggenheim began to collect works by non-objective artists in



Guggenheim and Rebay opened the foundation for the "promotion and encou

and education in art and the enlightenment of the public."

In 1939, the Foundation's first museum, "The Museum of Non-Objective Painting",

opened in rented quarters at 24 East Fifty-Fourth Street in New York and showcased art

: An early drawing of the Guggenheim Museum, New York. architecture.com

d to as "The Guggenheim") is the

Impressionist, early

and also features special exhibitions throughout the

he 20th century's most important architectural landmarks.


his art adviser, the German painter

objective artists in



Guggenheim and Rebay opened the foundation for the "promotion and encouragement

Objective Painting",

Fourth Street in New York and showcased art

120

During the life of Guggenheim's first museum, he continued to add to his collection,

acquiring paintings by Marc Chagall, Robert Delaunay, Fernand Léger, Amedeo

Modigliani and Pablo Picasso. The collection quickly outgrew its original space, so in

1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright pleading him to

design a permanent structure for the collection. It took Wright fifteen years, seven

hundred sketches, and six sets of working drawings to create the museum. While

Wright was designing the museum, Rebay was searching for sites where the museum

would reside. Where the museum now stands was its original chosen site by Rebay

which is at the corners of 89th Street and Fifth Avenue. On October 21, 1959, ten years

after the death of Solomon Guggenheim and six months after the death of Frank Lloyd

Wright the Museum opened its doors for the first time to the general public.

THE IDEA

The Solomon R. Guggenheim museum broke away from the dictates of the trends of

modern architectural movements and represented the most poetically linked of all his

works. "Here is the ideal I propose for the architecture of the machine age", wrote

Wright,"for how an ideal American architecture should develop in the image of trees"

as quoted in Time Magazine, 1959. In this way, entrusting it to an organic image of

construction, Wright intended including the same function of the building as that in the

world of nature, establishing a dialectic rapport between form and function and not of a

casual type as that intended by the main exposés of the Modern Movement. "It is

important to note," the historian Bruno Zevi relates, "how Wright's space reduces the

generatrix, placing itself, not in geometrical terms, but in those immediately plastic."

DESCRIPTION

The Guggenheim Museum contradicts the usual chess board type of building, typical of

New York, the outside of which presents strong links to the past with flower boxes at

street level and the possibility of seating, the large curved overhang of the first floor

underlining an invitation to the loggia underneath, the bridge being a link between the

two bodies of the Museum acting as a kind of middle road between the outside and the

inside. From the street, the building looks like a white ribbon curled into a cylindric

stack, slightly wider at the top than the bottom. The inside space is a continual upwards

movement using a six-floor spiral with galleries which spread out from the first ramp

indicated by a large water fountain in the central room on the ground floor

Internally, the viewing gallery forms a gentle helical spiral from the main level up to

the top of the building. Paintings are displayed along the walls of the spiral and also in

exhibition space found at annex levels along the way.

The diameter of the spiral as it curves upwards allows for the entrance of light at each

level installing in the visitor a sense of luminosity and tranquility. The overlaps

correspond to the expanding ramps visible from below culminating in a transparent

dome covering the central area.

Plate 3.13: The spiral ramp

Source: www.thais.it

121


rlining an invitation to the loggia underneath, the bridge being a link between the


inside. From the street, the building looks like a white ribbon curled into a cylindric


floor spiral with galleries which spread out from the first ramp

indicated by a large water fountain in the central room on the ground floor



exhibition space found at annex levels along the way.

ter of the spiral as it curves upwards allows for the entrance of light at each



ing the central area.

: The spiral ramp


rlining an invitation to the loggia underneath, the bridge being a link between the


inside. From the street, the building looks like a white ribbon curled into a cylindrical


floor spiral with galleries which spread out from the first ramp

indicated by a large water fountain in the central room on the ground floor (Plate 3.12).



ter of the spiral as it curves upwards allows for the entrance of light at each



122

In "the cathedral of art", observes Zevi, "Wright proposes a stroll through art, a road

similar to a super-garage extending that of the city, enclosing it in an open spiral to re-

converge with the urban context." Surely this is one of the most original complexes that

the history of Museum architecture has ever known where the problem of symbiosis

with the works of art has been affronted, the museum being a means of emotional

complicity whilst at the same time liberating the visitor to face the diverse experiences

that art proposes as an intrinsic visualisor of reality.

This spatial articulation was envisioned as a path from the top of the building which

slowly worked its way down to join the urban space from where it began. The continual

spiral movement implies a more intimately natural adhesion between the creator and

the exposed work of art encountered along the path. In this way no precise distinction

exists between the upward and downward slopes and it is possible to have different

perceptions of the surrounding space at all levels which increases or decreases

according to a balance between an expansion or contraction of the events. At the

different levels the various sectors of the exhibition are divided by separating elements

which receive external light from a continual series of glass window slits, the main font

of illumination, which introduce an interesting co-efficiency of variability linked to the

alternating of day and night.

FACILITIES IN THE MUSEUM

The facilities in the museum include the main gallery, Justin K Thann house galleries,

book stores, auditorium, offices and sculpture garden. On arrival, people are whisked to

the top of the building via elevator, proceeding downward at a leisurely pace on the

gentle slope of the ramp. An elevator provides guests a ride to the top of the building

where they can disembark and begin a long, spiraling descent with a constant slope.

The galleries are divided like the m

interdependent sections. The open rotunda afforded viewers the unique possibility of

seeing several bays of work on different levels simultaneously. The spiral design

recalled a nautilus shell, with continu

The Main Gallery is unified by its speckled beige terrazzo floor embedded with a metal

circular pattern, its ivory-colored plastered walls and ceilings, and by the large glass

dame. The continuously spiraling ca

bulges on the northern side, appears to be coved into a lew edge wall. It is anchored at

the east by continuous vertical shafts housing services and, to a lesser extent, by twelve

equally-spaced concrete ribs (acting as partition walls in the gallery alcoves) which are

united at the top into six hair

"spokes" intersect a central circle at the summit of the dome. Each glazed area is further

divided into smaller panes by metal bars.

Plate 3.14: The Dome showing the six “spokes”

Source: www.thais.it

At the ground level of the Main Gallery, several other features appear. Adjacent to the

vestibule is a wood admissi

telephone alcove composed of three booths with seats and pivoting glazed doors and a

service ledge opposite them.

123

The galleries are divided like the membranes in citrus fruit, with self-contained yet



recalled a nautilus shell, with continuous spaces flowing freely one into another.


colored plastered walls and ceilings, and by the large glass

dame. The continuously spiraling cantilevered ramp widens as it rises. The ramp, which



ribs (acting as partition walls in the gallery alcoves) which are

united at the top into six hair-pin "spokes" of the dome (Plate 3.13). The hair


aller panes by metal bars.

: The Dome showing the six “spokes”


vestibule is a wood admission information desk and, in the same wood finish, a


service ledge opposite them.

contained yet



ous spaces flowing freely one into another.


colored plastered walls and ceilings, and by the large glass

ntilevered ramp widens as it rises. The ramp, which



ribs (acting as partition walls in the gallery alcoves) which are

). The hair-pin



on information desk and, in the same wood finish, a


124

To the right of the telephone alcove is a pair of glass doors leading to the present

conservation area (originally the cafe), to the right beyond the lew curved wall is

another wall of four painted-over. The exterior wall is opened up by large aluminum-

framed windows (called "Hope's" sections). The central glazed bay has a planting area

in the shape of a half-leaf and nestled in the beginning of the ramp's curve is a leaf-

shaped fountain with a planter. The perimeter of this level is illuminated by one row of

original recessed light fixtures and two rows of added swivel light fixtures. The

elevator foyer at this level leads to the coatroom foyer.

The ramp ascends to the first level where it pivots at a leaf-shaped planter. It is here

that four curved risers lead through a double-height arch into the Grand Gallery, paved

in terrazzo. Continuing up the ramp, at each level one encounters the triangular

staircase behind the semi-circular elevator shaft. Small planters in the shapes of

segmental circles are located periodically along the path.

At the second and fourth levels, entrances lead to other adjacent exhibition spaces. At

the sixth level, there is a triangular gallery (above the triangular staircase) that now has

a parquet wood floor and recessed light fixtures. The base of the dome is surrounded by

a ring of adjustable metal light fixtures.

Reached from the ramp through a wide, curved entrance, the Thannhauser Wing is

located in the second level of the monitor. Its curved northern end has fin-like ribs and

lozenge-shaped columns surrounding an almost circular atrium that extends vertically

from the ground story to the monitor's dome. The atrium is interrupted by the lozenge-

shaped stair hall. Three other lozenge

of the wing.

THE DRAWINGS

Plate 3.15: Site plan of the Guggenheim Museum, New York

Source: Google Earth

Fig 3.15: Ground Floor Plan of the Guggenheim Museum, New York


125

shaped stair hall. Three other lozenge-shaped columns are found in the southern portion

: Site plan of the Guggenheim Museum, New York

: Ground Floor Plan of the Guggenheim Museum, New York


shaped columns are found in the southern portion

Fig 3.16: First Floor Plan of the Guggenheim Museum, New York


Fig 3.17: Elevation of the Guggenheim M


126

: First Floor Plan of the Guggenheim Museum, New York


: Elevation of the Guggenheim Museum, New York


Fig 3.18: Section of the Guggenheim Museum, New York


Plate 3.16: Interior Perspective of Restaurant


127

: Section of the Guggenheim Museum, New York


: Interior Perspective of Restaurant


APPRAISAL

The provision of ramps as the major mode of both vertical and horizontal movement

through the gallery is quite friendly to the physically challenged especially those on

wheelchairs. Also, the use of light

walls make the distribution of diffused natural light a priority.

Most of the criticism of the building has focused on the idea that it overshadows the

artworks displayed within, and that it is particularly difficult to properly hang paintin

in the shallow windowless exhibition niches that surround the central spiral. The walls

of the niches are neither vertical nor flat (most are gently concave), meaning that

canvasses must be mounted proud of the wall's surface. The limited space within t

niches means that sculptures are generally relegated to plinths amid the main spiral

walkway itself.

3.4 CASE 4: A STUDY OF SYMBOLISM AND IDENTITY IN LAGOS STATE

HOUSE, ABUJA

Plate 3.17:Lagos State House, Abuja.

Source: photograph by author.

128



wheelchairs. Also, the use of light-coloured finishes (white) especially o

walls make the distribution of diffused natural light a priority.


artworks displayed within, and that it is particularly difficult to properly hang paintin



canvasses must be mounted proud of the wall's surface. The limited space within t


.4 CASE 4: A STUDY OF SYMBOLISM AND IDENTITY IN LAGOS STATE

Lagos State House, Abuja.

Source: photograph by author.



coloured finishes (white) especially on the gallery


artworks displayed within, and that it is particularly difficult to properly hang paintings



canvasses must be mounted proud of the wall's surface. The limited space within the


.4 CASE 4: A STUDY OF SYMBOLISM AND IDENTITY IN LAGOS STATE

Lagos State House is located at the Central Area of the Federal Capital Territory Abuja.

The building is used as the Lagos State Liaison office and has a complex for other

business and commercial activities. It has a floor area of 882sqm.

The Lagos State House wa

through the Liaison Office building. The building resembles the ‘Eyo’ masquerade of

the Yorubas in Lagos State. Fig 3

House in Abuja.

EYO MASQUERADE AS A SYMBOL OF LAGOS STATE IDENTITY

Eyo in the Yoruba language means "person in a white mask," and the Eyo masquerade

is the most popular masquerade in Lagos State. Lagos State is blessed with many

thrilling cultural festivals. The major festivals include

referred to as Eyo Masquerade, Egungun festivals and a colourful boat regatta. The

AdimuOrisa, which is a colourful procession of Eyo Masquerades from the various

traditional ruling houses, is a tourist delight any day (Crieng

Plate 3.18:Eyo masquerades Display

Source: Crienglish.com n.d

129

ate House is located at the Central Area of the Federal Capital Territory Abuja.


business and commercial activities. It has a floor area of 882sqm.

The Lagos State House was designed to represent the prominent culture of Lagos State


Yorubas in Lagos State. Fig 3.34 shows the approach view of the Lagos State

AS A SYMBOL OF LAGOS STATE IDENTITY



thrilling cultural festivals. The major festivals include the AdimuOrisa play commonly



traditional ruling houses, is a tourist delight any day (Crienglish.Com n.d).

Eyo masquerades Display

Source: Crienglish.com n.d

ate House is located at the Central Area of the Federal Capital Territory Abuja.


s designed to represent the prominent culture of Lagos State


iew of the Lagos State

AS A SYMBOL OF LAGOS STATE IDENTITY



the AdimuOrisa play commonly



lish.Com n.d).

APPRAISAL

The Design of the approach Façade of the Lagos State House leaves a memorable mark

on any viewer as it speaks of the prevailing Cultural Identity of Lagos State. The u

the cylindrical forms to depict the Hat won by the’ Eyo’ Masquerade and the glazing to

represent the seeming mask and translucence of the face of the ‘Eyo’ Masquerade. T

is clearly shown in Fig 3.19

Fig 3.19:A 3d model of Lagos State

Source: Remodelled by Author

130


on any viewer as it speaks of the prevailing Cultural Identity of Lagos State. The u


represent the seeming mask and translucence of the face of the ‘Eyo’ Masquerade. T

is clearly shown in Fig 3.19 – Fig 3.20.

A 3d model of Lagos State House, Abuja

Source: Remodelled by Author.


on any viewer as it speaks of the prevailing Cultural Identity of Lagos State. The use of


represent the seeming mask and translucence of the face of the ‘Eyo’ Masquerade. This

Fig 3.20:Lagos State House Abuja, replica of two Eyo Masquerades


Plate 3.19:Two Eyo Masquerades at a c

Source: Crienglish.com.

131

Lagos State House Abuja, replica of two Eyo Masquerades


Two Eyo Masquerades at a ceremony

132

3.5 CASE5: A STUDY OF SYMBOLISM AND IDENTITY IN THE PALACE OF

THE ATTAH IGALA, IDAH KOGI STATE

Plate 3.20:Photo of the approach view ofAttah’s palace

Source: Photograph by author

The palace of the AttahIgala is strategically located at the Northern part of Idah in Kogi

state. The location is influenced by tradition and so cannot be relocated from the

present site.

SYMBOLISM OF THE ATTAH’S PALACE

The design of the palace does not have any symbolic representation of the identity of

the Igala people rather it depicts Islamic architecture whereas Islam is not the only

religion of the people.

Most buildings in the palace including the Attah’s court and residence represent Islamic

Architecture. The statue of an elephant at the entrance to the palace is the only element

of the people’s identity in the design of the palace. The elephant (Adagba) represents

strength and dignity to the people. Plate 3.19 shows the statue of an elephant at the

entrance of the palace. Plate 3.21 and Plate 3.2

architecture.

Plate 3.21: Photo of the side view of Attah’s Residence


Plate 3.22:Photo of the approach view of one of the guest houses


Plate 3.23:Photo of part of the administrative building


133

entrance of the palace. Plate 3.21 and Plate 3.22 show the use of elements of

oto of the side view of Attah’s Residence


Photo of the approach view of one of the guest houses


Photo of part of the administrative building


show the use of elements of Islamic

134

Plate 3.24:Photo of the old Attah’s court


APPRAISAL

The Design of individual buildings in the palace does not represent the culture and

identity of the Igala people as they lack symbolic elements that represents the identity

of the people.

The use of continuous arches and flat roof depictsIslamic architecture.The entire site is

zoned into public area, semi-public area and private area. The arrangement of

individual buildings are rather scattered and do not follow any design pattern.

THE DRAWINGS

Fig 3.21: Floor Plan of one of the office buildings of the administrative unit


135

Fig 3.22:Floor Plan of the Royal Council Office


Fig 3.23:Ground Floor Plan of one of the Guest Houses


136

CHAPTER FOUR

4.0 GENERAL PLANNING PRINCIPLES AND DESIGN GUIDELINES

4.1 PLANNING PRINCIPLES FOR ATTAH’S PALACE DESIGN

For successful completion of any design project, certain design guidelines must be put

into cognizance. In this case, proper examination in terms of space management

through proper spatial planning techniques is carried out.

The functions of the Palace are assigned to four parts of the Design:

• The Administrative Complex: The Administrative complex comprises of the

administrative functions and coordination of Executive activities of the palace.

• The Accommodation Complex: The Accommodation Complex comprises of

residence for the Attah of Igala and his family and Temporary accommodation for

guests.

• The Ancillary Facilities: The Ancillary Facilities include the mosque, ceremonial

Square, outdoor relaxation, support spaces and car parks.

4.1.1 ADMINISTRATIVE COMPLEX

The Administrative complex co-ordinates all palace functions. The Administrative

complex is broken down into the following spaces:

1. Office of the secretary Igala area traditional council: This office accommodates

the secretary to the traditional council that represents the entire Igala kingdom.

Traditional councils of all the (8) eight local government areas in Igala land are

represented by the secretary Igala area traditional council.

2. Office of the secretary Idah local government traditional council: This office

accommodates the secretary to the traditional council that represents only Idah local

government area.

137

3. Office of the Attah’s council members: Besides the traditional councils of Igala

area and Idah local government area, there is also Attah’s council. This council is

responsible for all palace affairs. They have a common office usually a large space in

form of a conference room where they deliberate on matters daily.

4. Attah’s court: This is a large space in form of a conference room where Attahmeets

with his royal councillors. It also accommodates the throne.

5. Accounts section: This office accommodates the accountant and cashier to the

palace.

6. Data Base Room: The Data Base room is workstation that contains all information

of the palace stored in digital format. It consists of a server room, and support technical

spaces alongside an online library.

7. Lounge: The Lounge is an essential part of palace design as it provides space for

staff to cool off and relax from the non-stop work tension. It also provides waiting areas

for visitors to the palace.

8.Museum of Artefacts: This is a functional space where the traditional artefacts of the

Igala kingdom are preserved. This is a tourist attraction in the Palace.

9.History Library: This space accommodates literatures on the history of the Igala

kingdom.

4.1.2 ACCOMMODATION FACILITIES

The accommodation facilities are residential buildings in the palace. They are two types

of residential buildings in the palace. Attah’s residence which accommodates Attah and

his family properly secluded from public areas through zoning and guest house which

accommodates Attah’s guests and visitors.

138

1. Attah’s residence: Attah’s residence is separated from the family’s residence and

designed as a symbolic monument. Two apartment blocks are provided for Attah’s

family. One for the most senior wife while the other wives share one apartment. This is

because the royalty which is by inheritance is in a Muslim lineage and in Islam, more

than more than one wife is permitted.

However the accommodation complex is kept in a private area of the site by the zoning

concept away from administrative and public activities.

2. Guest accommodation: Accommodation is provided for Attah’s guests. These

guests comprise of high profile dignitaries like the president of the federal republic of

Nigeria, Ministers, State governors and the common man.

The size and type of Guest accommodation to be provided shall depend on anticipated

activities like cultural festivals and ceremonies.

For this project, two basic guest accommodation types shall be provided;

Single rooms:

Single occupancy

Double occupancy

Suites:

1-bedroom suites

2-bedroom suites (family suite)

Bearing in mind that guest at this type of facility would usually stay for an average of 4

days to 1 week, accommodation facilities should be designed to handle long stay,

providing comfort without compromising the integrity of the cultural and

environmental experience.

139

4.1.3 ANCILLARY FACILITIES:

Ancillary Facilities includes; Mosque, Ceremonial Square, outdoor relaxation, car

parks, walkways, service routes, etc.

4.2 CONSIDERATIONS IN SITE PLANNING

4.2.1 LAND USE CONSIDERATIONS

Land use is a broad planning process that encompasses zoning ordinances, subdivision

regulations, and master planning. It is important to recognize that conflicts sometimes

arise between security-oriented site design and conventional site design. For example,

open circulation and common spaces (which are desirable for conventional design) may

be detrimental to certain aspects of security. Some security decisions to be considered;

1. Presence of natural physical barriers such as water features, dense vegetation, and

terrain that could provide access control and/or shielding, or suitability of the site for

the incorporation of such features

2. Topographic and climatic characteristics that could affect the performance of

chemical agents and other weapons

3. Adjacent land uses and occupancies that could enable or facilitate attacks or that are

potential targets themselves and thus present collateral damage or cascading failure

hazards

4. Proximity to fire and police stations, hospitals, shelters, and other critical facilities

that could be of use in an attack.

4.2.2 SITE DESIGN

Creating sustainable buildings starts with proper site selection. The location of a

building affects a wide range of environmental factors—as well as other factors such as

140

security, accessibility, and energy consumption, as well as the energy consumed by

transportation needs of occupants for commuting, the impact on local ecosystems, and

the use/reuse of existing structures and infrastructures.

Sustainable site planning will consist of a whole system approach that seeks to:

1. Minimize development of open space through the selection of disturbed land, reuse

of brownfield sites, and retrofitting existing, buildings;

2. Consider energy implications in site selection and building orientation;

3. Control erosion through improved grading and landscaping practices;

4. Reduce heat islands through building design methods, minimizing impervious

surfaces, and using landscaping;

5. Minimize habitat disturbance;

6. Restore the health of degraded sites by improving habitat for indigenous species

through appropriate native plants, climate-adapted plants, and closed-loop water

systems;

7. Incorporate transportation solutions along with site plans that acknowledge the need

for bicycle parking, carpool staging, and proximity to mass transit. Encourage

alternatives to traditional commuting; and

8. Consider site security concurrently with sustainable site issues. Location of access

roads, parking, vehicle barriers, and perimeter lighting, among others are key issues

that must be addressed.

9. Balance Site Sustainability with Site Security/Safety.

Consider installing retention ponds and beams to control erosion, manage storm water,

and reduce heat islands while also serving as physical barriers to control access to a

building and to deflect blast effects. Use native or climate tolerant trees to improve the

quality of the site as well as provide protection by obscuring assets and people.

141

Implement erosion control measures to stabilize the soil (e.g., seeding and mulching,

installing pervious paving) and/or to retain sediment after erosion has occurred

(e.g., earth dikes and sediment basins). These help to reduce the negative impacts on

water and air quality as well as mitigate potential damage to a building's foundation and

structural system due to floods, mudslides, torrential rainstorms, and other natural

hazards.

4.2.3 PARKING

Surface lots can be designed and placed to keep vehicles away from the facility, but

they can consume large amounts of land and, if constructed of impervious materials,

can contribute greatly to storm water runoff. Due to shape and size of site underground

parking can be explored to improve site design.

Parking Stall Dimensions:

Changes in the vehicle size have changed the parking space dimensions necessary to

accommodate large cars and small cars. These vehicle changes have also reduced the

aisle width requirements to access a parking stall. Large cars typically need

approximately 9 feet of stall width to provide sufficient door opening width, and small

cars need approximately 8 feet of stall width.

Fig 4.1:Dimensions of parking lots

Source: Urban Land Institute Parking Association 1993

The one-size-fits-all designs are easier to exec

1) Most drivers do not know the size of the vehicle or whether it is a large or small car;

2) Most drivers take the first available space regardless of size; and

3) large cars parked in small

spaces and possibly on the adjoining aisles.

4.2.4 CIRCULATION

Circulation planning in multi

essential step in determining the form and layout of the development, the phases for

extension and taking into account the high proportion of costs involved in roads, paths,

infrastructure and landscaping works.

Circulation is in two forms:

(a) Internal circulation; corridors, lobbies and lounges. Corridors are wasted space.

Circulation in public spaces should wherever possible be through areas of other use

such as lounges or shopping precincts, or have a special use, such as lobbies.

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Dimensions of parking lots

Source: Urban Land Institute Parking Association 1993

all designs are easier to execute for several reasons:


2) Most drivers take the first available space regardless of size; and

3) large cars parked in small-car spaces create problems by encroaching on adjacent

spaces and possibly on the adjoining aisles.

Circulation planning in multi-building projects such as palace development is an


and taking into account the high proportion of costs involved in roads, paths,

infrastructure and landscaping works.

Circulation is in two forms:

; corridors, lobbies and lounges. Corridors are wasted space.

paces should wherever possible be through areas of other use



ing on adjacent

building projects such as palace development is an


and taking into account the high proportion of costs involved in roads, paths,

; corridors, lobbies and lounges. Corridors are wasted space.

paces should wherever possible be through areas of other use


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(b) External circulation; General movement around the site layout. Vehicular and

pedestrian paths, access to building units etc.

Typical External Circulation Patterns: Different circulation patterns as seen in figure

4.2 below have been used in different facilities either as a result of the topography of

the site or the philosophy of the designer. In the design of the Attah’s palace, the

unlimited growth circulation pattern will be the best suited circulation pattern.

a) Open system b) Closed system

c) Imposed Itenary d) Uninterrupted space (Mies Van Der

Rohe)

e) Interconnected spaces f) Closed link with central focus ( F.L

Wright)

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g) Unlimited growth ( Le Corbusier)

Fig 4.2: Different circulation patterns as used in different facilities

Source: Illustrations by Author

In planning, a key factor is efficient and segregated circulation. The general circulation

layout should facilitate movement and, as far as possible, provide for the separation of

residents, guests and staff. This is not just to avoid disturbing the residents and guests,

but also to enable efficient servicing. Separating the circulation of residents and non-

resident; for instance, by providing direct access accommodation facilities. This avoids

congestion in the administrative/public areas of the palace.

There are four main generators of circulation and they include; Guests, staff, services

and residents of the palace.

DRIVEWAY DESIGN:

The safety and efficiency of a street depends on the amount and character of

interference affecting vehicles moving along it. Significant interference is caused on

most roads by vehicles entering, leaving, or crossing at intersecting streets and

driveways. In order to minimize accidents and to assure best overall use of the road by

the general public, it is necessary to regulate vehicle movements in and out of abutting

developments and cross streets.

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• The conflict effect of driveways is a function of traffic and pedestrian flow along the

street and at the driveway.

• A low volume driveway causes relatively little conflict on a major street, and a high

volume driveway causes little conflict on a minor route.

• In areas of high pedestrian activity, designs for low speed vehicular entry and exit

may be based on radii and restricted total widths.

• Driveways should be designed for curb lane access with minimal encroachment on

travel lanes.

• Design elements of each driveway (location, spacing, sight distance, throat width,

radii, angles, and grades) should be based on expected volumes and vehicle

characteristics.

• For right-turn entry and exit, the driveway radius should be consistent with the design

vehicles sweep path requirements.

• Most driveway design elements are directly related to the layout of the parking area,

amount of reservoir space, types of loading facility, circulation pattern, and building

placement within the site.

4.3 GENERAL PLANNING PRINCIPLES FOR ADMINISTRATIVE/OFFICE

BUILDINGS IN A PALACE

The main purpose of an office environment is to support its occupants in performing

their job - preferably at minimum cost and to maximum satisfaction. In an environment

like a palace where different people perform different tasks and activities, however, it is

not always easy to select the right office spaces. To aid decision-making in workplace

and office design, one can distinguish three different types of office spaces: work

spaces, meeting spaces and support spaces.

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For new or developing businesses, remote satellite offices and project rooms, Serviced

Offices can provide a simple solution and provide all of the former types of space.

Circulation Space - Spaces, such as corridors and aisles, provided within an office to

allow for access to various work areas.

Enclosed Workstation - A workstation with four-sided, floor-to-ceiling enclosures

using drywall, demountable or removable partitions.

General Office Space - Office space used to accommodate general administrative

functions (workstation, support, and circulation space) and does not require special

design and construction because of other special program delivery activities. General

office space can usually be reallocated between departments with minimal changes

required.

Open Workstation - A workstation with no enclosures or two to three enclosures

below ceiling height using screens or panels.

Space Envelope - The total amount of general purpose office space provided to a

department, as determined under these standards.

Special Purpose Space - Additional, non-standard areas required by a department to

accommodate specific activities which are unique and essential to delivery of the

department’s particular program. For example, laboratories, health units or clinics,

courtrooms, hearing rooms, staffed libraries, mainframe computer rooms, workshops,

central mail operations rooms, radio/communications centers, survey and mapping

rooms, public assembly areas, exhibit areas, conference or training complexes, central

storage/warehousing areas, trade shops, etc.

Support Space - Shared space containing furniture, equipment or materials used by a

department. For example, photocopier rooms, file cabinets, meeting rooms, coffee

counters, etc. These shared spaces are located near the people that use them on a regular

basis and may be enclosed or open depending on the type of equipment and the work

performed in them.

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Swing Space - Office or special purpose space temporarily used while renovations or

capital improvements are underway or when new space is being acquired. Swing space

is provided whenever office accommodation is being acquired for occupancy of 10

years or more.

Workstation Space - Spaces provided to people to accommodate their individual

furniture and equipment and allow them to perform their job functions. Workstation

space may be enclosed or open depending on the confidentiality, security, visual and

acoustical privacy requirements of the job (Northwest Territories 2007).

Fig 4.3: Meeting Room - 4 to 5 people, 11.15 m2 (120 ft2)

Source: Northwest Territories 2007.

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Fig 4.4:Meeting Room - 6 to 7 people, 13.9 m2 (150 ft2)


Fig 4.5: Workstation Space Type D - Open, 9.3 m2 (100 ft2)


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Fig 4.6:Workstation Space Type B - Closed, 13.9 m2 (150 ft2)


In the words of office design consultant and author Francis Duffy, "The office building

is one of the great icons of the twentieth century. Office towers dominate the skylines

of cities in every continent… [As] the most visible index of economic activity, of

social, technological, and financial progress, they have come to symbolize much of

what this century has been about."

This is true because the office building is the most tangible reflection of a profound

change in employment patterns that has occurred over the last one hundred years. In

present-day America, northern Europe, and Japan, at least 50 percent of the working

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population is employed in office settings as compared to 5 percent of the population at

the beginning of the 20th century (Conway 2010).

4.3.1 ENERGY EFFICIENCY

For a typical office building, energy may comprise up to 30 percent of the operating

costs representing the property’s single largest operating expense. It is important for

owners and design teams to consider energy-efficient and sustainable design strategies

from the moment the decision is made to construct an office building.

For instance, the seemingly simple decision of deciding which direction a building

faces may impact many downstream decisions such as the appropriate type and amount

of glazing, heating and cooling requirements, and daylight harvesting opportunities.

Incorporating energy-efficient and sustainable design strategies early in the design

process and ensuring the installed measures are properly commissioned will result in

reduced operating costs for electricity, gas, and water, and a quality work environment.

Sustainable design strategies worth considering include the following:

• Use of recycled content or the reuse of building materials for office furniture, carpet,

cubicle panels, wood flooring, and concrete to reduce waste streams.

• Consider high-efficiency water faucets and toilets along with control sensors to reduce

water use.

• Evaluate using natural vegetation around the building perimeter to mitigate water use

and minimize maintenance

• Capture rainwater run-off or consider gray-water systems for supplemental or

substitute irrigation sources (Conway 2010).

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4.3.2 BUILDING ATTRIBUTES

An office building must have flexible and technologically-advanced working

environments that are safe, healthy, comfortable, durable, aesthetically-pleasing, and

accessible. It must be able to accommodate the specific space and equipment needs of

the tenant. Special attention should be made to the selection of interior finishes and art

installations, particularly in entry spaces, conference rooms and other areas with public

access.

3.3.3 TECHNICAL CONNECTIVITY

Technology has become an indispensable tool for business, industry, and education.

Given that technology is driving a variety of changes in the organizational and

architectural forms of office buildings, consider the following issues when

incorporating it, particularly information technology (IT), into an office:

� Plan new office buildings to have a distributed, robust, and flexible IT infrastructure,

which would allow technological access in virtually all the spaces.

� During the planning stage, identify all necessary technological systems (e.g.,

voice/cable/data systems such as audio/visual systems, speaker systems, Internet

access, and Local Area Networks [LAN] / Wide-Area Networks [WAN] / Wireless

Fidelity [WI-FI]), and provide adequate equipment rooms and conduit runs for them.

� Consider and accommodate for wireless technologies, as appropriate (Conway

2010).

4.3.4 LIGHTING

In each instance a reliance on artificial lighting is prevalent. The design and lighting

helps to set the scene, firstly by removing the visitor from neither his nor surroundings

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and placing him in some other environment, one that is often or altogether more softly

lit than the world outside. The scale of such buildings often dictates that the lighting is

plentiful, varied form and function, but always beautiful to behold.

There is no room for standard product here; each piece must compete for existence with

other rare and beautiful creations. In such grand surrounding first role of decorative

public building lighting is illuminating itself, vainly s its own beauty in the very best

light (Conway 2010).

3.3.5 FUNCTIONAL/OPERATIONAL

The building design must consider the integrated requirements of the intended tenants.

This includes their desired image, degree of public access, operating hours, growth

demands, security issues and vulnerability assessment results, organization and group

sizes, growth potential, long-term consistency of need, group assembly requirements,

electronic equipment and technology requirements, acoustical requirements, special

floor loading and filing/storage requirements, special utility services, any material

handling or operational process flows, special health hazards, use of vehicles and types

of vehicles used, and economic objectives(Conway 2010).

4.3.6 FLEXIBILITY

The high-performance office must easily and economically accommodate frequent

renovation and alteration, sometimes referred to as "churn." These modifications may

be due to management reorganization, personnel shifts, changes in business models, or

the advent of technological innovation, but the office infrastructure, interior systems,

and furnishings must be up to the challenge.

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Consider raised floors to allow for easy access to cabling and power distribution, as

well as advanced air distribution capabilities to address individual occupant comfort.

Incorporate features such as plug-and-play floor boxes for power, data, voice and fiber,

modular and harnessed wiring and buses, and conferencing hubs to allow for daily

flexibility at work as well as future reorganization of office workstations

(Conway 2010).

4.3.7 URBAN PLANNING

The concentration of a large number of workers within one building can have a

significant impact on neighbourhoods. Office structures can vitalize neighbourhoods

with the retail, food service, and interrelated business links the office brings to the

neighbourhood. Consideration of transportation issues must also be given when

developing office structures. Office buildings are often impacted by urban planning and

municipal zoning, which attempt to promote compatible land use and vibrant

neighbourhoods.

Consideration should be given when selecting office locations to the distance the

majority of occupants will have to travel to reach the office. Studies including zip code

origination should be conducted to determine the best location of the office. The

development of new office locations will often necessitate relocation of employees,

particularly if the office is moved or opened in a new geographical area. Consideration

of the municipal resources should include housing costs and availability, traffic

congestion, school system quality, cultural resources such as museums, sports teams

and institutions of higher education, natural attractions such as coastal areas, mountains

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and public parks, availability of educated labour, crime rate and law enforcement, and

civic infrastructure capacity such as water, waste water and waste processing.

Once a building has been constructed and occupied, it is critical that long-term

performance be confirmed through an aggressive process of metering, monitoring and

reporting. The results of this feedback should inform maintenance operations and be

available as input to new design efforts (Conway 2010).

4.3.8 PRODUCTIVITY

Worker Satisfaction, Health, and Comfort—in office environments, by far the single

greatest cost to employers is the salaries of the employees occupying the space. It

generally exceeds the lease and energy costs of a facility by a factor of ten on a square

foot basis. For this reason, the health, safety, and comfort of employees in a high

performance office are of paramount concern.

Utilize strategies such as increased fresh air ventilation rates, the specification of

nontoxic and low-polluting materials and systems, and indoor air quality monitoring.

Provide individualized climate control that permits users to set their own, localized

temperature, ventilation rate, and air movement preferences.

While difficult to quantify, it is widely accepted that worker satisfaction and

performances increased when office workers are provided stimulating, dynamic

working environments. Access to windows and view, opportunities for interaction and

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control of one's immediate environment are some of the factors that contribute to

improved workplace satisfaction. See also the Psychosocial Value of Space.

Natural light is important to the health and psychological well-being of office workers.

The design of office environments must place emphasis on providing each occupant

with access to natural light and views to the outside. A minimum of 30 foot candles per

square foot of diffused indirect natural light is desirable.

The acoustical environment of the office must be designed and integrated with the other

architectural systems and furnishings of the office. Special consideration must be given

to noise control in open office settings, with absorptive finish materials, masking white

noise, and sufficient separation of individual occupants (Conway 2010).

4.4 OFFICE SPACE ALLOCATION

Figs 4.3 – 4.6 show different space configurations in an Office environment.

Fig 4.3 Meeting Room - 4 to 5 people, 11.15 m2 (120 ft2)


Fig 4.4 Meeting Room - 6 to 7 people, 13.9 m2 (150 ft2)


Fig 4.5 Workstation Space Type D - Open, 9.3 m2 (100 ft2)


Fig 4.6 Workstation Space Type B - Closed, 13.9 m2 (150 ft2)


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4.5 OFFICE DESIGN GUIDELINES

The following space planning and design guidelines are recommended:

• In order to create flexibility, promote air quality, increase natural light penetration and

reduce costs, attempt to limit the number of enclosed workstations to 45% of the total

workstations on a floor.

• Enclosed workstations may be provided to senior managers (e.g., director level and

above) and positions, which conduct continuous (e.g., on a daily basis for at least 3 to 4

hours during the day) confidential meetings. The supervision of staff and/or occasional

confidential meetings is not usually considered sufficient cause for an enclosed

workstation. The provision of meeting rooms and shared Quiet Rooms is a more

efficient and functional solution.

• Enclosed offices should be positioned on the building core and provided with glazing

to receive natural light. Screens should be 1.65m (65") or lower in height.

• Allocate approximately 25% of the space as circulation space.

• For periodic large group (12 or more people) meetings, conference rooms should be

rented from the private sector rather than accommodated in general office space.

However, if private conference facilities are not available locally, departments can

provide for conference-size rooms by connecting adjoining meeting rooms with ceiling

height, soundproof, moveable partitions.

• Departments should consider collocating in order to share support spaces and

equipment and reduce costs.

• Plan space so that short-term space requirements are isolated from longer term

requirements to enable future space reductions.

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• To promote open workstation planning, Quiet Rooms can be provided for small group

meetings and work requiring privacy. To provide maximum functionality as shared

workstations, Quiet Rooms should be equipped with furniture, computer equipment and

communications connections.

• To create flexibility, apply a modular approach to planning; i.e., plan spaces which are

compatible with building grids. Most existing facilities are built on a 5' x 5' grid.

• Plan the size of smaller support spaces so that they can be interchangeable with

workstations for people (Northwest Territories 2007).

4.6 DESIGN CONSIDERATIONS FOR SPECIAL RESIDENTIAL BUILDINGS

4.6.1 SUSTAINABILITY

The design of the Residential facility should ensure that throughout the construction,

operation and maintenance of the building the facility should minimize its impact on

the environment. Consideration should be given to:

• Minimizing ozone depletion, global warming, air and water pollution and non-

renewable resource depletion

• Maximizing energy efficiency and use of renewable energy sources

• Maximizing the use of natural resources such as daylight and passive solar energy

• Efficient use of water supply and waste water

• Maximizing recyclability and avoidance of actively harmful building products and

processes units (Housing Design Guidelines 2008).

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4.6.2 INDIVIDUAL FLATS

General Requirements

• The minimum requirement will be for at least 20% of flats to be 2 bedroom. The exact

percentage will be agreed on scheme by scheme basis

• One bedroom flats (one or two person) minimum of 55m2

• Two bedroom flats (two or three person) minimum of 72m2

• Controls, fixtures and fittings to be positioned to accord with lifetime homes standard

= switches, sockets, ventilation and service controls should be at a height usable by all

(i.e. between 450mm and 1200mm from the floor)

Lounge

• Minimum of 15m2 for 1 bed flats. 2 bed flats will require minimum of 17m2.

• No less than 3m wide.

• Direct access from hall and kitchen.

• Ground floor flats, adjacent to communal garden, to have direct access through

French doors onto small paved area.

• Upper floor flats to include balconies if, due to planning constraints, balconies are not

feasible to provide Juliet balconies.

• Any balcony to have child safe barriers.

• Design must comfortably accommodate 2 easy chairs, table, TV and 2 other pieces of

furniture. In addition a dining area for dining table and two chairs if not accommodated

within kitchen area.

• Digital TV/ broadband and telephone points.

Bedroom

• Minimum of 13 m2 for 1 bed, second bedroom minimum of 10 m2.

• No less than 3.1m wide.

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• Design of bedroom should enable island bed position and one other position.

• One bedroom should be able to accommodate a double bed.

• Sufficient space for wardrobe, dressing table, bedside table and TV.

• Glowing switches capable of dimming provided in bedrooms.

• One bedroom to be en-suite.

Bathroom

• Ensuite bathroom should also have door into hallway, in addition to door to bedroom

• Space should be allowed to accommodate carriers around WC and shower.

• Flush floor shower to be provided with shower screen fixed to the floor.

• Space for shower seat or for residents to use plastic garden chairs as preferred.

• Layout must allow access to WC and basin without encroaching on shower area as

this will be wet.

• Dignity of residents to be considered in design and positioning of fittings to avoid

occasional embarrassment for visitors and residents alike.

Kitchen

• Kitchen units, appliances, fixtures/fittings and décor must be selected to provide a

domestic, homely feel and not at all institutional in character.

• Open plan access directly from lounge, with provision to fit a door if resident prefers

• If door is fitted it must be easily removed in case of emergency.

• L-shaped or U-shaped layout of storage/appliances.

• Slip resistant flooring with welded joints.

• Appliances to include: fridge, freezer, hob, wall mounted built in oven - at work

surface height with second oven with integral grill and plumbing/electrical provision

for a washing machine installed in each flat.

• Cooker to have put down space either side capable of taking hot dishes.

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• Isolation switches in cupboard adjacent to cooker.

• Tall cupboards should only be located at end of worktop runs.

• Mobile under counter units can provide a degree of flexibility for changes between

wheelchair and non-wheelchair residents.

• Shallow shelving to be provided as well as base and wall units (Housing Design

Guidelines 2008).

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CHAPTER SIX

6.0 THE DESIGN

6.1 DESIGN PHILOSOPHY

An architect’s design philosophy can be said to be a set of postures or values about

design which he relies upon for making forms of the building design. Whether

articulated on a conscious level or not; these views of design which he possesses

profoundly affect his work; his activities are governed by these values.

According to Dorst (2003), when architects begin to study a new situation, he confronts

a mass of irrelevancies and confusion. He must work out way through to that truth that

defines the problem in a clear and concise way. Then he can start spinning outward

from this definition, evolving a solution that has appropriateness derived from the

unique qualities of the problem at hand.

It then becomes apparent that it is his responsibility to preserve the integrity of this

concept throughout the evolution of the project, to the day of its completion. Frank

Lloyd Wright was describing such a process when he wrote about “organic

architecture”. Louis Kahn said much the same thing when he spoke of a building

“wanting to be”; so did Eero Saarinen when he talked about a search for the “spirit” of

the building (Goldschmidt, 1998).

Within design philosophy, there is usually room for many design methods, processes

and building solutions all of which is consistent with the designer’s context of values.

No rule exists as to what design philosophy for what project should be. For most

projects, it is a function of the architect’s habit or it could be that of the client or the

users of the facilities to be provided (Eastman, 1970).

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Behind this project, the philosophy is educational:

a) To define architecture in concrete terms:

b) To create an “Architecture” depicting the environment.

c) To use the principle of noise control as an approach of enhancing the

efficiency and efficacy of the school.

d) Designing from whole to part.

6.2 DESIGN CONCEPT AND CONCEPT DERIVATION

"Architecture is too complex to be approached with carefully maintained ignorance”.

There is therefore the need for creative innovation with rationality.

It is to the architect that belongs the job of satisfying not only the aesthetics and

functional needs of man, but also the psychological and cultural aspirations of man.

By concept, thus is meant:

"ideas that integrate various elements into a whole. The elements can be ideas,

notions, thoughts and observations." They are "similar to ideas in that they are

specific thoughts we have as result of an understanding, except that a concept has

this particular characteristics. It is though, concerning the way several elements or

characteristics can be combined into a single thing.

In Architecture, a concept also identifies how various aspects of the requirements

for a building can be brought together in a specific thought that directly influences

the design and its configuration"

- Synder J.C &Catanese A.J, (1997).

The design concept for any proposed building is the central idea or theme behind an

architectural design (Groak, 1992). As such it is the architect who will formulate what

he thinks is the most important design factor for that particular project.

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In deriving the central theme for this project, careful analysis of various symbols of the

Igala people were considered, choosing the most important symbols and transforming

them into the design of the Palace of the AttahIgala. Hence, the building is perceived as

a physical enclosing symbolic element aroundharmonious integration of

spatial/functional spaces.

The Design concept shows the idea that will herald the final design. The Design

concept goes through an evolution to a final concept as various cultural artefacts of

theIgala people are explored to arrive at a final Architectural Symbol.

6.3 IGALA TRADITIONAL SYMBOLS

6.3.1 INIKPI

Plate 6.1: Photo of Inikpi


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Inikpi is the beloved daughter of AttahAyegbaOmaIdoko who willingly gave herself to

be buried alive as a sacrifice for the survival of the Igalakigdom during the Igala –

Jukun war. It should be recalled that when Queen Ebulejonu established the Jukun

dynasty at Idah, Igalas lost their independence and became a vassal to the Jukun king,

the AkuUka. Igalas continued to pay tribute to the Aku until the reign of

AttahAyegbaOm’Idoko.

As soon as AyegbaOmaIdoko was installed as the AttahIgala, he refused to pay these

tributes. The continued defiance of the authority of the AkuUka of Wukari resulted in

him sending a force to bring AttahAyegba to task. When the Jukun soldiers arrived at

Idah, fear and terror gripped all Idah people. A Muslim preacher advised AttahAyegba

to sacrifice to the land spirit which he loved most to ensure the safety of his kingdom.

But AttahAyegba was not ready to accept the advice. His daughter princess Inikpi got

the information and realizing the danger threatening her father’s kingdom ordered a pit

to be dug at Idah waterside. She descended into the pit with her nine slaves and all were

buried alive.

Today, Inikpi is a powerful symbol of the people, her statue stands in the middle of the

popular Idah market as shown in plate 6.1 above. ‘Inikpi’ is a respected name in the

Kingdom mostly given to first daughters in most families.

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6.3.2 EKWE

Plate 6.2: Photo of Ekwe


In Igala kingdom, the use of masquerade has been as old as the history of the people.

The masquerades have their various names and are used for specific occasions. They

stem from entertainment, policing and an arbitration court to mention a few.Among the

masquerades of Igala, mention must be made of some names like Abule, Ukpoku,

Olagenyi, Adaka, Owuna, Ogbanaku and Apaleche.

Ekwe is regarded as the head of the royal masquerades and in most cases serve as the

final arbitrator in some disputes that are beyond human comprehension. It is regarded

as the final court in any disputes in Igalaland.Ekwe is therefore regarded is one of the

symbols of Igalakigdom.

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6.3.3EJUB’EJUAILO

Fig 6.1: TheEjub’ejuailo


Ejub’ejuailo which means ‘face of fear’ is the most powerful symbol of Igala people. It

is a unique mask that is identified only with Igala kingdom. Ejub’ejuailo is the symbol

of authority of the AttahIgala without which the Attah has no authority over the people.

The mask is passed from one Attah to another in the event of death. It is worn round the

neck by the AttahIgala whenever he appears in public.

6.3.4 THE ELEPHANT (Adagba)

Plate 6.3: Photo of an Elephant


The Elephant (Adagba) is the symbol of strength of the AttahIgala. It also represent

the powerful nature of the kingdom. It is usually used to represent the kingdom. The

picture of an elephant is also found in all representations that refer to the Igala kingdom

as shown in plate 6.5.

The statue of an Elephant stands directly at the ent

AttahIgala as shown in fig. 6.5.

Plate 6.4: Logo of Igala Kingdom


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: Photo of an Elephant

www.wikipedia.org

The Elephant (Adagba) is the symbol of strength of the AttahIgala. It also represent



The statue of an Elephant stands directly at the entrance of the present palace of the

AttahIgala as shown in fig. 6.5.

: Logo of Igala Kingdom

www.wikipedia.org

The Elephant (Adagba) is the symbol of strength of the AttahIgala. It also represents



rance of the present palace of the

Plate 6.5: Photo of the Entrance of


6.3.5 THE LEOPARD (Eje

Plate 6.6: Photo of a Leopard


Like the Elephant is the symbol of strength of the AttahIgala who is the only first class

chief and paramount ruler of the kingdom, the Leopard is the symbol of strength of

second class chiefs in the kingdom. One can find the statue of the leopard at the

entrances of the palaces of the second class chiefs in the kingdom.

6.4 EVOLVED DESIGN CONCEPT

168

Plate 6.5: Photo of the Entrance ofAttah’s Palace


(Eje)

hoto of a Leopard

www.wikipedia.org


chief and paramount ruler of the kingdom, the Leopard is the symbol of strength of


entrances of the palaces of the second class chiefs in the kingdom.

6.4 EVOLVED DESIGN CONCEPT


chief and paramount ruler of the kingdom, the Leopard is the symbol of strength of the


169

The formal concept that emanates the design of the Palace of the AttahIgala is the

combination of the royal crown which is the general symbol of royalty and the popular

Igala mask known as ejub’ejuailo (the face of fear) which represents the symbol of

authority of the AttahIgala. The mask which is also referred to as a face by the people

shall form the façade (face) of the palace of the AttahIgala.

However, Other Igala symbols will be incorporated in the course of the design to

generate the final symbolic design of the Palace of the AttahIgala.

Plate 6.7: Photo of the AttahIgala


Ejub’ejuailo(The Face of Fear) (The Symbol of Authority of AttahIgala)

170

Fig 6.2:A Royal Crown

Source: Author’s Sketch

Fig 6.3: The Igala Mask Ejub’ejuailo (face of fear)


171

Fig 6.4: The Combination of the Royal Crown and Igala Mask.


Fig 6.5:The Façade abstraction in the Design of the Palace of AttahIgala.


Parapet Wall

Building Facade

Free Standing Columns

Main Entrance

172

Fig: 6.6:The Ground Floor plan abstraction in the Design of the Palace of AttahIgala


173

Fig 6.7: The Model abstraction in the Design of the Palace of AttahIgala


The model abstraction of the design of the Palace of the AttahIgala as shown in Fig. 6.5

above is the combination of the royal crown which is the general symbol of royalty and

the popular Igala mask known as ejub’ejuailo (the face of fear) which represents the

symbol of authority of the AttahIgala and other Igala symbols such as the Elephant as

modelled at the entrance, the Leopard as modelled at the column base, the Elephant

Tusk as columns. The combination of these symbols will generate the final symbolic

design of the Palace of the AttahIgala.

6.5 APPLICATION OF CONCEPT IN DESIGN

1. FORM

174

The form of the palace of the AttahIgala is patterned after the royal crown and the Igala

mask. The circular form of the crown transforms into an octagonal shape and geometry

is developed from it.

2. FAÇADE DESIGN

The Façade design is a double skin façade. It is made up of an outer layer forming the

Igala mask and an interior wall which is separated by a space. This space makes

provision for structural members and ducts as well as helps in ventilating the building.

3. STRUCTURAL SYSTEM

The building is composed of a concrete frame structure with masonry walling. The

frame is made of concrete columns supporting steel roof truss.

6.6 DESIGN SYNTHESIS

The Design process is an evolution of different thoughts and ideas to arrive at a

solutionto a problem. The problem in this study is Symbolism and Identity in the Palace

of the AttahIgala and the Design offers a solution to this problem.

The Design Synthesis is an analysis and evaluation of different cultural values and

artefacts of the Igala people in order to truly represent the identity of the people through

Symbolic Architecture by testing them withthe Theories discussed here in chapter two

of this study.

6.7 DESIGN CONTRIBUTION

175

A Palace in itself serves as a home for all in the Kingdom. It represents the heritage and

identity of the people.

The Design brings to light the rich historic heritage of the Igala people by

acknowledging the political and religious plurality of the people and coming to a

unifying point where all prejudice whether political or religious is made to lie low. The

design also transcends the religious idiosyncrasy that would arise from delving into

traditional and cultural artefacts which may contradict the beliefs of modern day

religions as they are seen to be ‘gods’ and religious symbols of the traditional religions.

Furthermore the design educates the Igalapeople about a great heritage which they

share together as a people rather than remind them of their vast religious and

politicalplurality which has an unending search to a common ground.

Architecturally, the design erects a monument which is typical and original of the

peoples’ cultural symbols, unmutilated by western concepts and civilization, and also

points out the relevance of Attah’s symbol of authority in the mask called ejubéjuailo

(the face of fear).

In addition, The 1960 UNESCO recommendation concerning the Protection of Cultural

Property Endangered by Public or Private Works cites in the Hope Report: “Cultural

property is the product and witness of the different traditions and of the spiritual

achievements of the past and is thus an essential element in the personality of the

peoples of the world. It is the duty of governments to ensure the protection and

176

preservation of the cultural heritage of mankind, as much as to promote social and

economic development” (Report of the National Estate (The Hope Inquiry), 1974)

The preservation of cultural identity is a significant factor for future success of a nation.

Architecture in itself marks the history of civilizations and the development of people.

It is hoped that the institution of the Palace of the AttahIgala will encourage the

multiple cultures of Nigeria to embrace their roots and preserve their fast disappearing

heritage even as their evolution as a nation continues.

RECOMMENDATIONS AND CONCLUSION

Buildings have the ability to speak, whether they are listened to or not. The audibility

and fluency of any architectural piece varies depending on the architect and the

audience.

The palace of the AttahIgala is a cultural centre and home for the Igala people and

should have the ability to portray and represent the heritage and culture of the people in

good architectural language. Attah’spalace should however be symbolic in design and

represent the cultural aspirations and heritage of the Igala people.

Every ethnic group Nigeria has its own cultural make-up; some have a unified culture

while others have a pluralistic cultural make-up. A proper research and documentation

has to be done as to define the identity of every ethnic group in Nigeria. The attahIgala

palace thus represents Igala people and is a cultural home for all Igalas, despite

religion, age and gender.

177

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